Inferno (2016)
DIRECTOR: Ron Howard
CAST: Tom Hanks, Felicity Jones, Irrfan Khan, Sidse Babett Knudsen, Omar Sy, Ben Foster, Ana Ularu
REVIEW:
If nothing else, Inferno might hammer the final nail in the coffin of Sony’s increasingly inexplicable determination to make Robert Langdon—the protagonist of Dan Brown’s pulpy book series—into a “franchise” headliner. Dry, professorial Langdon isn’t exactly 007, and The Da Vinci Code was only a moderate box office success, while Angels & Demons didn’t do much business worth writing home about, but Sony insisted on forging ahead. With Inferno already opening weak, it might be time to stop adapting Dan Brown books. If you’re one of the seemingly relatively few people—including myself—who moderately enjoy these movies, Inferno offers up largely more of the same, but isn’t as good as the unevenly-paced but sporadically fascinating Da Vinci Code and doesn’t represent a compelling reason to rush to a theater near you. Continue reading
Angels & Demons (2009)
DIRECTOR: Ron Howard
CAST:
Tom Hanks, Ewan McGregor, Ayelet Zurer, Stellan Skarsgard, Pierfrancesco Favino, Armin Mueller-Stahl, Nikolaj Lie Kaas, Thure Lindhardt
REVIEW:
While Dan Brown’s novel Angels & Demons chronologically took place before The Da Vinci Code, the movie is a sequel to the 2006 Ron Howard-Tom Hanks film. In the wake of scathing reviews dissmissing the first as leaden and ploddingly-paced (which I did not, for the most part, agree with), Howard obviously took a few steps here to make Angels & Demons more conventionally cinematic, but despite a faster, somewhat more action-oriented pace, Angels & Demons is a close cousin to its predecessor, and whether that is a good thing or a bad thing will largely depend on your opinion of The Da Vinci Code. Continue reading
The Da Vinci Code (2006)
DIRECTOR: Ron Howard
CAST:
Tom Hanks, Audrey Tautou, Ian McKellen, Jean Reno, Paul Bettany, Alfred Molina, Jürgen Prochnow
REVIEW:
Ron Howard’s film adaptation of Dan Brown’s novel The Da Vinci Code was preceded by an extraordinary amount of controversy over certain of its plot points which seemed to take on a life of its own, raising the movie and the theological and historical questions it raised into something greater than the film itself. Continue reading