After waking up in a hospital with amnesia, professor Robert Langdon and a doctor must race against time to foil a deadly global plot.
All these years later, whether or not you were hankering for Brown’s particular brand of hokum, Howard has adapted yet another bestseller in the author’s series: “Inferno.” It’ll probably annoy people more than anger them, though, because it’s just so silly and scattered. Howard and “Angels & Demons” screenwriter David Koepp are all business when it comes to delivering the doom and gloom, which is of the literary rather than the religious variety this time. But the multiple twists, double-crosses and leaps in logic are more likely to prompt giggles than gasps, despite the impressive production values and the earnest efforts of an A-list cast.
Tom Hanks is back once again as Harvard symbologist Robert Langdon, the understated hero of the series. Hanks’ performance is a prime example of what he does so well: He establishes that Langdon is the smartest man in the room at all times, but still manages to make the character an accessible everyman. It’s easy to take for granted what a tricky balancing act this is, simply because Hanks makes it look so effortless. By now, it’s his bread and butter. If only it were in the service of better material.
At the film’s start, Langdon has awakened in an Italian hospital room, not knowing where he is or he how he got there. Sweating and panicking, he suffers from excruciating headaches and the disturbing images that flash through his mind: hellish visions of twisted bodies burning and writhing in pain and surging rivers of blood. Soon enough, though, he’s on the run alongside the emergency room doctor who’s been treating him: the brilliant prodigy Sienna Brooks (Felicity Jones).