Let’s be honest: No one was really looking forward to Inferno, the latest adaptation of Dan Brown’s “Robert Langdon” adventure series starring Tom Hanks and directed by Ron Howard. Well, maybe except me.
For whatever reason, the Langdon books have not translated well to the big screen. The Da Vinci Code was a relative disappointment given the hype, though I thought—if you could take the preposterousness seriously—Angels and Demons was an improvement and even occasionally exciting. But I knew Inferno was facing an uphill battle because any remaining Da Vinci Code hype had likely evaporated, and the book, which came out 3 years ago (review here), was not as good as its predecessors.
That said, I really wanted to like Inferno. I am still a sucker for adventure thrillers that wove in real history and puzzle-solving, shady government organisations and operatives, and plots that feature intriguing twists and turns.
And Inferno certainly had potential, starting off with a bang by getting right into the heart of the film’s core issue—the overpopulation of the Earth—with snippets of a presentation from Bertrand Zobrist (Best Foster), an extremist billionaire who believes the human race is heading to extinction because population growth is spiralling out of control. Before long, we’re getting horrific images of hell as described by Dante’s epic poem, Inferno, and a Tom Hanks—with normal hair too—who appears to be in the most pain he’s been in since he had urinary tract infection in The Green Mile.
So far so good. In terms of basic elements, Inferno has it all: An attractive woman who decides to help Langdon out (this time it’s the lovely Felicity Jones), a dangerous assassin (Ana Ularu), government operatives you don’t know if you can trust (Omar Sy and Sidse Babett Knudsen), and a shady underground organisation (headed by Irrfan Khan).
As you would expect, Tom Hanks spends much of the movie running around Europe with Felicity Jones, solving riddles and piecing together puzzles while dodging bullets and trying to shake their pursuers. Having learned from the mistakes of Da Vinci Code, much of the exposition (the historical facts and stuff about Dante, in particular) is summarised and explained on the go, so that the momentum isn’t slowed.
And yet, it still feels like there’s a whole lot of expository dialogue all throughout the film. It’s one of those situations where you have two leading experts on Dante who keep telling each other facts they already know about Dante. It’s for the benefit of the audience, of course, but it feels awfully clumsy and trite. Perhaps that’s the fatal problem in adapting all of these Langdon movies—there’s just no way of explaining the most interesting parts of the books in a way that’s doesn’t come across as either boring or stupid in the films.
Furthermore, while some elements from the book have already been streamlined for the film (including the ending), the story is still so outrageously preposterous and filled with plot holes that it becomes hard to take seriously. I was more forgiving in The Da Vinci Code and Angels and Demons about these sorts of things, but in this film it got to the extent where I couldn’t simply ignore it. The plot was far too silly for the film to take itself so seriously, and that’s why I’ve tended to enjoy the National Treasure films more.
Look, the cast is good, the performances are decent, the production values are solid, and you’ll always get a certain level of quality whenever Hanks and Howard are involved. Unfortunately, I just couldn’t bring myself to like Inferno. While I didn’t dislike the film, it just felt like they were just going through the motions because they were contracted to do the movie. Having been intrigued by The Da Vinci Code and surprisingly thrilled by Angels and Demons, Inferno came out as easily the tamest and least inspiring of the trilogy.
2.75 stars out of 5