Based on the fourth novel of the Robert Langdon series by Dan Brown, Inferno is about how a billionaire creates a virus which he will unleash to cull the human population…unless professor Langdon follows the clues and finds it before it is unleashed. If you’ve seen The Da Vinci Code or Angels & Demons, then you know what you are getting into. Both of these films garnered criticism and controversy of the views is portrays, but as films they are so interesting, tense and full of twists and both are in my top ten personal favourites, so I was apprehensive to watch this third instalment. I can safely say, I have not seen a more thrilling film this year. Maybe I’m biased, but this film secure the Robert Langdon series as my favourite film trilogy of all time. Firstly, Tom hanks reprises his role and is great as ever, this time he suffers from head trauma so there is a lot more complications with the character. Felicity Jones plays the professor’s assistant and follows him as he follows the path that links to Dante’s Inferno, she was believable and great as usual. The other supporting actors were great as well. the locations used for the film were beautifully shot, plenty of art galleries and sculptures that catches the eye. I’m glad Ron Howard returned as director, if it were anyone else it just would not be the same. The really great thing about this sequel is that the villain’s motive is actually purposeful, the human population is constantly rising and he believes that we will cause our own extinction if we do not do something about it…I was captivated throughout. There is one twist in the film that literally blew my mind! I cannot believe it happened and I’m still shocked by it now, and that’s a plus…it is memorable and I will remember that scene for a very long time. The soundtrack is composed by the legend that is Hans Zimmer (who composed the predecessors) and thankfully includes the ‘Chevaliers De Sangreal’ piece that was in the original movie…one of my favourite tracks. The only flaw i could find was that a few of the characters felt forced just to try and create more twists, in which they really didn’t need to. I know this is based off the book so potentially that could be the source material’s fault. Overall, Inferno was everything I hoped it would be and more. It was enthralling, intense and interesting with one of the greatest twists I’ve seen this year. Ignore the critics on this one, they just have a vendetta against the series… –
Inferno Srt Sub Download
By a twist of fate, there are two infernos you can submerge yourself in this weekend. You can either take the Dan Brown audio tour of Florence and Dante’s Divine Comedy in Ron Howard’s adaptation of the author’s “Inferno.” Or you can tiptoe around the edges of volcanoes with Werner Herzog, contemplating their mythic power in “Into the Inferno.”
If one must be sacrificed to appease the movie gods, it’s not a hard call. Whether that would be enough to finally extinguish Brown’s best sellers and their big-screen counterparts, however, is unlikely.
“Inferno” is the third Robert Langdon film, with Tom Hanks reprising the role of the Harvard “symbology” professor whose parlor trick is solving elaborate criminal plots by deciphering great works of art. If his exploits are to continue (and there is good reason to fear they might), I hope he’ll eventually be confronted with a puzzle that brings him face to face with a Rothko, leaving him utterly bereft of clues.
The first two Langdon movies (also directed by Howard) were cold, soggy soups of conspiracy that served up a very poor man’s Indiana Jones, minus the fun but plus a dubious haircut. The filmmakers have skipped one book in the series, perhaps wisely since Brown’s “The Lost Symbol” enlists Freemasons as its conspiracy-du-jour, following escapades with the Catholic church and self-flagellating albino monks in “The Da Vinci Code” and the Illuminati in “Angels & Demons.”
“Inferno,” a better, more simplified thriller than those films, trades less on the ancient mysteries of a shadowy organization than the familiar arch villainy of a megalomaniac — and a good one, at that. The reliably intense Ben Foster plays Bertrand Zobrist, a billionaire who, fearful that overpopulation will destroy humanity, wants to trim the herd by half with a virus that will unleash a modern-day plague.
Langdon’s role in the scheme isn’t clear. The film begins with him waking up in a Florence hospital, his recent memory wiped clean by a head wound and his mind haunted by apocalyptic visions. It’s that classic hangover with little to jog the noggin other than a mysterious bio-tube from the night before.
When a pursuer turns up and starts shooting, Langdon and the doctor on hand, Sienna Brooks (Felicity Jones), flee and begin piecing together Zobrist’s plot, one concocted with heavy shades of Dante and Botticelli’s Map of Hell painting. They chase the virus while trailed by the World Health Organization (Sidse Babett Knudsen, Omar Sy) and a clandestine security firm (Irrfan Khan exquisitely plays its gentlemanly leader). Langdon and Brooks dash through the Palazzo Vecchio, the Boboli Gardens and other starred attractions in Brown’s Florence guide book.
The opportunity to see Hanks traversing European capitals has been enough to make the Langdon films blockbusters. Along the way, Langdon — a bit of a drip — has not given Hanks much to work with. But slavishness to Brown’s text has finally given way in David Koepp’s script to an apparent understanding that the books don’t deserve such regard, or at least that few care anymore.
The benefit is that “Inferno” isn’t a burning heap of hogwash, like “The Da Vinci Code” was. It’s a lot more like a tweed-jacket version of Bond or Bourne or most any other thriller out there. But if Langdon is distinguished from the other globe-trotting saviors by his PhD, why aren’t his movies smarter?
“Inferno,” a Columbia Pictures release, is rated PG-13 by the Motion Picture Association of America for “sequences of action and violence, disturbing images, some language, thematic elements and brief sensuality.” Running time: 121 minutes. Two stars out of four.
I’m not afraid to admit that I get a kick out of Dan Brown’s Robert Langdon thrillers. Yes, they’re indifferently plotted and predictably written. But I’m a sucker for ludicrous, centuries-spanning conspiracies and indulgent faux-gnosticism. The books serve, if nothing else, as gripping tours through art-world apocrypha, and Brown’s know-it-all symbologist hero makes a clever guide through it all. Do a drinking game around the words “Langdon quickly explained” in one of these books; you’ll be dead within the hour. So it is with a heavy heart that I must tell you that Ron Howard’s latest Dan Brown adaptation, Inferno, is fucking terrible.
Howard’s previous entries in the series, The Da Vinci Code and Angels and Demons, were not exactly critically beloved either, but I dug the first and tolerated the second; they capture enough of the sweep and pseudo-intellectual clutter of the books to make for engaging entertainments. But Inferno seems to have forgotten what makes this whole enterprise click: It streamlines everything down to a basic chase narrative, losing most of the paranoid cultural history lessons Brown is known for. To put it another way: Take the Dan Brown out of a Dan Brown movie and all you’re left with is Tom Hanks jogging in mild irritation.
The story has Langdon (Tom Hanks) waking up in an emergency room in Florence, Italy with a head wound and a severe case of amnesia. He has no idea what he’s doing in Florence or what caused his injury, but as soon as a stone-faced female assassin shows up at the hospital, Langdon and his doctor, Sienna Brooks (Felicity Jones), start running. Trying to piece together what’s happened to him, Langdon discovers in his jacket a nifty Faraday pointer, a laser pointer that works with kinetic energy (I didn’t know that, did you know that?). The device projects an image of Botticelli’s Abyss of Hell, an elaborate painting inspired by Dante’s vision of the underworld in the Divine Comedy. This all seems to relate to the recent suicide of Bertrand Zobrist (Ben Foster), a billionaire biotech visionary obsessed with the planet’s runaway overpopulation.
Cutaways to Elizabeth Sinskey (Sidse Babbet Knudsen), the head of the World Health Organization, who is also looking for Langdon, start to clarify matters: It appears that Zobrist, who believed that humanity’s survival depends on regularly thinning the herd, has created some sort of deadly plague. Now Langdon and Sienna are on a historical scavenger hunt to try and find it, as our hero peruses through his spotty memory to recall what terrifying secrets he needs to uncover, and which ones he already knows. And somebody wants them dead. Maybe. Also, there’s a drone. But, like, a small one.
Seriously, Dan Brown Deserves Better Than ‘Inferno’ (2)
It’s a shame that the once-vibrant career of Joe Dante has gone nowhere in recent years, because Dante’s Inferno would have been preferable to Ron Howard’s Inferno (*1/2 out of four). With such efforts as The Howling, Gremlins and Piranha, Dante was efficient at adding welcome strains of tongue-in-cheek humor to further distinguish his outlandish yet consistently amusing fantasy flicks. Howard, on the other hand, is at that post-Oscar point in his career where most of his projects are weighted down with misplaced import, and nowhere is this more evident than in this daft and humorless adaptation of Dan Brown’s bestselling novel. This is the third Brown book to be turned into a major motion picture directed by Howard and starring Tom Hanks, and it’s the lamest one yet.
Like those ridiculous National Treasure flicks featuring Nicolas Cage as a nerdy Indiana Jones, the three films showcasing Hanks as Harvard symbologist Robert Langdon position themselves as brainy action yarns, with the hero pausing during lengthy chases to rattle off historical tidbits regarding Leonardo Da Vinci (2006’s The Da Vinci Code) or the Catholic Church (2009’s Angels & Demons) or Dante Alighieri (this entry). But as a character, Langdon has even less dimensions than the more animated sleuths Carmen Sandiego and Dora the Explorer, and it’s sad seeing Hanks wasting his talents in such a gossamery role.
The central thrust of Inferno is that Bertrand Zobrist (Ben Foster), a wealthy motivational speaker who comes off like a cross between conspiracy nut Alex Jones and Elevation Church con man Steven Furtick, decides that the only way this overpopulated planet can be saved is by unleashing his own moonshine mix of a virus, one designed to serve as another Black Plague and kill off half the world’s citizenry. Since the movie would only run 10 minutes if Zobrist did the logical thing and released it ASAP, he instead plots out an alternate course of action that his groupies are to follow if he dies (which he does within the film’s first few minutes). But he illogically crafts a needlessly complicated puzzle wherein even his followers have to piece together clues to ascertain the whereabouts of the deadly strain. (Wouldn’t instant, easy access make more sense? Or did his followers decide they’d be too busy watching the current season of The Walking Dead so no real rush on destroying the world?) This protracted plan allows not only Langdon and World Health Organization suits to have a shot at locating and neutralizing the virus but also opens the door for nefarious characters to nab it first and sell it to the highest bidder (this doesn’t really make sense, given the indiscriminate and widespread nature of this uncontrollable disease, but there ya go).
When it’s not being dense, Inferno settles for being dull, since the pattern has been largely the same in all three films: See Langdon run! See Langdon solve puzzles! See a hottie (in this case, Felicity Jones) trot along behind Langdon, breathlessly hanging onto his every word! At least the locales are lovely (lots of shots of Venice), and there’s an interesting performance by reliable Irrfan Khan as the head of a clandestine outfit that traffics in assassinations as well as in sleight-of-hand scenarios more suited to a Now You See Me romp. In all other respects, though, Inferno quickly goes down in flames.