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When the aforementioned albino monk (an unrecognizable Paul Bettany) shows up with a gun, it’s time to hop Sir Leigh’s private jet to England, yammering all the while about the Knights Templar, the Holy Grail, and the placement of the figures in Da Vinci’s Last Supper. Chased by a cranky French cop (Jean Reno), Langdon and Sophie take refuge in the home of Sir Leigh Teabing (Ian McKellen), an eccentric and mysteriously wealthy scholar of all things occult. With the arrival on the scene of a foxy French cryptographer named Sophie (Audrey Tautou), Langdon is soon caught up in a web of utterly incomprehensible international intrigue. Instead, Howard takes a strangely respectful approach to the overheated mysticism of the novel, turning the film into that most boring of genres: the pious blockbuster.įor the 12 people in the country who haven’t already read it, I’ll summarize the plot: Robert Langdon (Tom Hanks), a professor of religious symbology at Harvard, is summoned to examine the body of a French curator, Jacques Saunière (Jean-Pierre Marielle), who’s been found naked and dead in the Louvre, a five-sided star drawn on his chest in blood. Given the silliness of the source material, The Da Vinci Code stood little chance of being a great film, but it could easily have been a fun one.
#Is the da vinci code good movie
Ron Howard, a maker of glossy, populist entertainments ( Splash, Apollo 13, A Beautiful Mind) interspersed with the odd pointless clunker ( How the Grinch Stole Christmas), has squandered an opportunity to treat us to a big, dumb summer movie that could have combined the occult frisson of The Exorcist with the paranoid energy of All the President’s Men.