The Da Vinci Code (2006)

The first five minutes, when I'm supposed to believe that an old man, after being shot in the stomach, strips himself naked, draws a circle on the floor and a star on his chest in his own blood, writes a message in code (also in his own blood) that leads to a painting with another coded message that leads to another painting with yet another coded message, several of which are written in invisible ink (he just happened to have a bottle on him when he was shot?). Then he lays down in the circle and dies in the pose of the Vitruvian Man. I'm surprised he didn't also pause to make a sandwich and finish that novel he'd been working on.

Monty Python could have done a better job with this movie.

Fmovies: So I suggest not writing this off as a Hollywood hack film, simply because it's the bandwagon thing to do. Before you go and see The Da Vinci Code, let all the negative and positive hype surrounding this production cancel each other out, clear your mind, and judge this film fairly. Do NOT judge it on its usually weak director, do NOT judge it entirely on the source material and do NOT judge it on your religious beliefs. All this will be rewarding.

I have not read the book so I will not attempt any kind of comparison.

Plot essentially goes like this: In the middle of the night, Professor Robert Langdon (Tom Hanks) is summoned as an expert to a crime scene in Le Louvre where a terrible murder has been committed. The victim's body is self-placed in such a bizarre, symbolic way next to one of the world's most famous paintings that the investigation gradually unlocks age-old mysteries that many do not wish to be unlocked.

The Da Vinci Code is a chilling, thrilling and well-sewn together mystery thriller that often keeps you on the edge of your seat. The cast do not disappoint either. Paul Bettany is genuinely creepy as Silas and thereby reinforces the stereotype that all albinos are evil. While Audrey Tatou is annoyingly frail as Sophie Neveu, she is captivating and lovely and is able to project both charisma and presence on screen in this film. However, Tom Hanks did not at all feel like the protagonist in the story and I am unaware whether that was intentional or not but I'm guessing no, in which case Hanks definitely fails in both attracting and keeping our interest.

So the cast usually perform well (with the exception of Hanks) and the story is also facilitated by some very striking visuals. A big plus for this film which elevates it slightly above generic formula is its beautiful locations often seen through epic aerial shots. Good call, Howard! Another big plus is its distinctly Euro-centric feel in both style and substance. This surprised me since it is Tom Hanks and Ron Howard in the same film, but they do manage to keep the overblown Hollywood clichés to a minimum. This is even apparent in the score by Hans Zimmer; it is not overblown, but subtle and appropriate in the scenes to which it was scored. Similarly, Frenchmen do not speak English with a French accent when they were alone together, but speak in French. That said, the plot does unfold in a somewhat Hollywood fashion -- and the plot happens to be thinner than an Olsen twin.

To counter the good parts, two big minuses in The Da Vinci Code are its wooden and sometimes even placeholder dialogue and its distinct lack of humor. I felt the actors were much too serious for this kind of film, which is first and foremost an adventure story, fast-paced and constantly unlocking new mysteries. The issues in the film were serious enough and needed more comedy to balance them.

As I write this review, more and more bad points about it spring to mind. This is strange, since I remember sitting in the cinema with my friends just a few hours ago and being thoroughly entertained and captivated by the whole thing. So, never mind the occasionally insultingly far-fetched plot and plot-twists by Dan Brown; The Da Vinci Code is a nicely done and very entertaining film in which nothing feels missing or incomplete.

7/10

I just watched the film, and even though I liked it, I must confess, I too expected more. I can't precisely point out what was missing and what I was expecting, but some it has some details that weren't there, some small imprecisions, some little things could have been better.

Nevertheless, a pleasant movie to watch. I confess I need to see it again, since I saw it from 3 to 6 am, with very few hours of sleep on the night before. I suggest the ones who read the book to re-read it before they go see it - to add a little bit more perspective. To those who haven't, I wish you a lovely time at the movies - it really is pleasant to see.

Praise to Audrey Tautou, a beautiful splendid actress, and all the other actors that don't need any more praise, like Ian McKellen, Jean Reno and Tom Hanks, who I didn't see fit the part at first, but who grew on me half-way through the movie, if not sooner. A huge praise to Paul Bettany too, for his astonishing and disturbing performance as Silas.

I give it an 8, because it's one of the first movies made from books that did not make me go 'Oh, this was not like this in the book' every five seconds. I never saw Ron Howard as the ideal director for this movie - but he pulled it off decently, though a bolder choice would have been in order.

The Da Vinci Code fmovies. If you take the most popular book in recent years, you should have the most popular movie since The Lord of the Rings, right? Wrong. Though the film was hotly debated, its cinematic quality and popularity aren't nearly as high as one would expect. Amid protests, pending lawsuits, and outright denouncements by Catholic officials, Ron Howard released his adaptation of Dan Brown's novel, The Da Vinci Code.

American symbologist Robert Langdon (Tom Hanks) and French cryptologist Sophie Neveu (Audrey Tautou) are on a trans-European quest to solve riddles left by Louvre curator, Langdon's hero and Neveu's grandfather, Jacques Saunier, as he lay dying. The riddles and subsequent quest allegedly lead to the true identity and whereabouts of the famed Holy Grail. Hot in pursuit of the thinking man's Bonnie and Clyde is Javert-ian French police captain Bezu Feche (Jean Reno), intent on pinning the murder of Suanier on Langdon and Neveu, and albino monk, Silas (Paul Bettany) under the command of a mysterious telephone voice known only as The Teacher.

With a pedigree such as the most popular book in the world, two Academy Award winners (Hanks, Howard and writer Akiva Goldsman), French film superstars (Tautou and Reno) and Gandalf (Ian McKellen), you'd wonder how such a film could fail.

Well, how about the miscast of Howard as director. Howard lacks the vision to properly adapt the novel and bring it to life. Some of the blame does go to his Cinderella Man scribe Akiva Goldsman for not writing a fitting script. But Howard's awkwardness is more prominent. If we were going to pick name directors for this film, Steven Spielberg would have been better choice, but I think David Fincher (Se7en and Fight Club) would have been perfect.

The whole production felt rushed. Having just read the book, a lot of plot points were fresh in my mind, and that may have clouded the comprehension of certain things, which I think Howard and Goldsman were counting on. Looking back on it, the first 30-45 minutes were very rushed, and I don't think things were adequately explained. They were still referenced and used in the movie, but not explained well. It suffered from the, what I call, Godfather syndrome: referencing things from the book at the wrong time. They could have taken their time with the film, and it would have told the same story, and been a lot better.

Hanks was out of place as Landon, our hero. He doesn't have or project the same presence about him that Langdon should have. Might I suggest seasoned conspiracy theory veteran David Duchovny? As with Mission:Impossible:III, the supporting cast was impeccably put together, and the one true weakness of the cast is unfortunately the keystone (maybe it's just a bad year for actors named Tom).

Slightly better than your average summer fair, but still doesn't hold up when put against the equally action oriented yet wholly more insightful X-Men franchise.

Okay, let me start off by saying that I absolutely loved the book - it had me hooked more than Harry Potter - and that's saying something (and no I'm not a 10 year old child)! After hearing about the critics' mainly negative views of the film, I approached it without high expectations, and for that, I was rewarded. What I got was an action-packed film that didn't let up until the dying minutes. This film is incredibly faithful to the book (I'm looking at you, Girl With a Pearl Earring!!) to the point where hardly anything is left out, and only minor things have been changed. The visuals are stunning, the acting of Hanks and Tautou is great - and contrary to certain critics opinions - I felt the emotional connection between them. As always, McKlellan is fun to watch, effortlessly bringing Teabing to life, and Reno suffices as Fache. Bettany is fantastic as Silas. The musical score was as good as the visual look of the film - it paired perfectly with the storytelling. Overall, I left the cinema feeling satisfied, because a great book had been turned into a really good film. Approach this film with little expectation, and you will enjoy the ride. Bravo Ron Howard, for doing such a good job.

Last Tuesday, when The Da Vinci Code premiered at the Cannes Film festival, it was met with a chilly reception from the reviewing elite. It has been called "plodding," "stale," and "uninspired," thus, dashing the hopes of many movie goers who were hoping to see one of their favorite novels brought to life by one of their favorite directors, and starring one of their favorite actors. Since I'm not a slave to snobby film reviewers, I went to go see it for myself despite the negative hype. And as the credits rolled at the end of the movie, I felt increasingly unsettled; not because of the quality of the movie, but because one question lingered in my head: What's not to like? Am I crazy for actually being entertained by what I just saw? How could the critics pan what I, and those around me, seemed to enjoy? Okay, so that's more than one question....

First, I have to qualify myself. I read the book and I LOVED it; couldn't put it down. I loved the history, the speculation, the riddles and puzzles, and the masterful blend of fact and fiction. Additionally, I'm not religious, although I was definitely familiar with Christian historical icons such as Jesus, John the Baptist, and Mary Magdelene before I read the book. I also happen to be a big fan of Tom Hanks, Ron Howard, and Ian McKellan.

Having said that, I went in prepared to like this movie, even though I had somewhat lowered my expectations based on the barrage of bad reviews. All of this proved to be a winning formula for me, apparently.

If you're like me and you loved the book and you like the artistic team that pursued making it into a movie, then you'll most likely come out satisfied. You won't mind what many critics have called "overly-long exposition" and historical flashbacks, because that's pretty much what the book consisted of. And in the book, it was absolutely engrossing! So, I personally didn't mind all of the explanation of history, symbols, etc.

Critics have also found fault with Tom Hanks and Audrey Tatou's portrayals of Robert Langdon and Sophie Neveu (respectively), saying that they delivered flat performances. But once again, whoever read the book will remember that both of these characters weren't that dynamic on the written page, either. Of course, Sir Ian McKellan, with the juiciest role of Holy Grail scholar Sir Leigh Teabing, chews up the scenery every time he's shown on screen. Sir Leigh Teabing was also one of the richest characters in the book.

I think that the people who won't like this movie are people who didn't read the book, and are going into the theater expecting a regular movie, which it's not. It's an adaptation of a very wordy, detailed, twisting, speculative novel that blends fact and fiction in a devastatingly effective way, and it's easy to get lost while watching the movie if you don't already know where the story is going. Sure, Ron Howard uses digitized, grainy flashbacks of ancient pagan rituals and societies to move the narrative along and to keep the audience on point, but I can see how it could be overwhelming to those who only know the bare bones of the plot. However, those who found it fascinating in the book will find pleasure in seeing the visual accompaniment to what they've already read.

In short, you go see this movie (or read the book) for how it challenges popularly-held beliefs; not for its rich, engaging character development. It's a quest for the "tr