Ron Howard | 121 mins | Blu-ray | 1.85:1 | USA & Hungary / English, French, Italian & Turkish | 12 / PG-13
Tom Hanks returns as Robert Langdon, Dan Brown’s symboligist-cum-crime-solver (that’s the main character from The Da Vinci Code, for everyone who’s forgotten in the decade-ish since that book was at the top of the cultural zeitgeist) for his third adventure (they made a second, remember?) based on the fourth novel, after the first film was based on the second novel and the second film was based on the first novel (not that that matters, it’s just kinda funny).
This time, Langdon wakes up in a hospital bed in Florence, with a gunshot wound to his temple that has caused him to both forget the last two days and have terrifying hallucinations of Hell. When an assassin turns up trying to kill him, he escapes with Dr Sienna Brooks (Felicity Jones). Still unable to recall how he ended up in this predicament, Langdon discovers a small projector in his pocket, which contains what will be the first clue to another scavenger hunt of famous old artworks and the like. At the end of the trail: a man-made pathogen that could wipe out 95% of humanity. Pursued by several groups who want the virus for their own nefarious (or not) ends, Langdon and Sienna race against time to save the world.
If you haven’t guessed yet, Inferno is a bit silly. Not utterly silly, but silly in the kind of way the previous Dan Brown movies have been silly — pretending they’re taking place in a plausible real world, when they’re not. The kind of silly where a villain leaves a trail of clues for someone to follow and make sure his scheme is executed, rather than, I dunno, putting a timer on it. (Incidentally, this is a change from the novel, where (based on what I read on Wikipedia) his plan makes marginally more sense.) The kind of silly where apparently the World Health Organisation is some international enforcement agency with gun-toting special ops units and the power to override local police. (I don’t know much about the real WHO, but I find this version very hard to believe.)
On the bright side, Inferno is not nearly so po-faced as the previous Langdon movies. If you suspend your disbelief, it’s a reasonably compelling mystery (or set of mysteries), where for once the ultimate solution doesn’t feel obvious from the get-go. The same goes for the issue of who to trust. As you’d expect from a race-against-time thriller with an everyman hero, there are multiple different forces in pursuit of Langdon, and you know that one of those groups will turn out to actually be on his side, because that’s how these things always go — but which? Well, I thought it was less blatantly obvious than normal, anyway; though I did guess one other huge twist almost from the start (and I’m sure most viewers who are reasonably versed in this genre of movie will too).
That’s another point that’s been tweaked from the novel, it turns out. In spite of being a film that is considered pretty faithful to its source, they do seem to have shaved off any detail or plot development that was a little outside the norm of a Hollywood blockbuster thriller, which is rather disappointing in a way. It was the ghost of 82’s review that alerted me to these changes, through the fact that the novel even has a different ending. I looked it up and it sounds much better. It’s totally unHollywood, and I bet the studio vetoed it as soon as they heard it, but it’s more interesting and complex than the standard fight-over-the-MacGuffin climax used here.
The whole style of the film is similarly standardised. The use of a 1.85:1 ratio and Ron Howard’s unremarkable direction make it all feel very televisual, the only giveaways to its big-screen budget being the stunning locations and the presence of Tom Hanks, Felicity Jones, et al. There are also hand-holding flashbacks and intercuts to things we saw five minutes ago, just like you get on TV dramas that feel uncertain about whether you’re paying full attention or have perhaps tuned in halfway through. Langdon’s gory visions lend a bit of visual spice, but that’s also what they feel like — an attempt to liven things up.
For all these faults, I actually enjoyed Inferno a fair bit. It’s a decent, pacy thriller; completely implausible, both in its overwrought story and frequently leaden dialogue, but as a race-against-time mystery in beautiful locations, it’s an entertaining 120 minutes. I’d give it 3½, but I don’t do half-stars, so let’s be generous and round it up.
Inferno is available on Sky Cinema from today.