On Friday evening, France 3 rebroadcasts Robert Langdon’s investigations.
France 3 programs the investigations of Robert Langdon, played by Tom Hanks under the direction of Ron Howard. It starts tonight with Da Vinci Code (2006), from Dan Brown’s bestselling novel. Next Friday, it will be the turn ofAngels & Demons (2009), thenInferno (2016), the following week. Here are the reviews of First, initially published during their theatrical release.
The story of Da Vinci Code : The curator of the Louvre is found murdered at the feet of the Mona Lisa … Before his death, the victim, a member of a secret society, concealed clues that his granddaughter and an American specialist in symbols will try to decipher. Drawn into a crazy adventure, they discover a colossal secret.
Mathieu Carratier’s criticism in First : Da Vinci Code, the most best of all the bestsellers (or the best seller, it depends), largely tended the page to a possible adaptation to the cinema. In the confident and reassuring hands of the good little soldier Howard, we had the right to expect a religious thriller that would have shown a minimum of effectiveness. We end up with the $ 150 million Josée Dayan, a luxury three-part TV movie atmosphere decked out in stunning music and an unlikely international cast.
The Da Vinci Code series unveils its trailer with a young Robert Langdon
The story ofAngels and Demons : An ancient secret brotherhood, the “Illuminati”, among the most powerful in history, who once vowed to wipe out the Catholic Church, is back. Robert Langdon, an expert in religions at Harvard, is sure of it. He has little time to understand what is brewing against the Vatican and thwart these new crimes with Vittoria Vetra, a scientist as beautiful as she is mysterious. A race against time begins, like a treasure hunt: from Roman churches to buried crypts, from the deepest catacombs to majestic cathedrals. This diabolical investigation is a trap, each secret is a key, each revelation a danger …
Gaël Golhen’s criticism in First : Let’s be clear: Angels and Demons is much better than the Da Vinci Code, Ron Howard’s previous crap with Tom Hanks as symbol decipherer. It was not difficult, but it gets better saying it. So, Angels and Demons takes up the main character of Robert Langdon, without being the sequel to the first opus (Dei): the film would even try to make people forget the mistakes of the past. Tautou, Reno and his atrocious shirts have thus disappeared in favor of the more sober Ewan McGregor. This time, no needy miracle, but a tight intrigue (12 hours to save the world and the papacy, a race against time in the Roman Churches) and some nice ideas (our hero is a coward and flees at the slightest altercation) . We will pass on the moral not finaude, or on the failed end. Because if A&D is not the thriller of the year, nor even that of the month, it is not unworthy. And it’s already not bad.
Tom Hanks: “I played a lot of ordinary characters who are nothing special, probably because I am not myself”
The story ofInferno : When Robert Langdon wakes up in the hospital with amnesia, he teams up with Sienna Brooks to recover his memory and stop a man from spreading a deadly virus.
Sylvestre Picard’s review in First : While Da Vinci Code was a cardboard nanar not even saved by a sublime score by Hans Zimmer, Angels and Demons, its sequel, was an honest Vatican thriller as implausible as it is enjoyable with conspiracies, puzzles, and other crazy Zimmer music. The third of the saga, Inferno, starts strong enough: assailed by visions of Dante’s Hell, the super-teacher of “symbiology” Robert Langdon (Hanks in cushy mode) must decipher riddles in Florence to prevent a virus from killing half of humanity. But after a scene of delirium where Tom Hanks walks in an infernal Florence where the damned are dragging themselves, the film gets tangled up in a plot as incredible as its characters (Omar Sy, super-agent of the World Health Organization who has a elite unit at SWAT, really? Irrfan Khan in CEO three-piece suit of a multinational with hired killers as if to replace his dinos from Jurassic World ?), its twists (the big bad commits suicide in the opening scene?!?) and its premises (kill humanity to save it?). Infernoeven succeeds in emptying of their meaning the works of art (Botticelli, Vasari, Dante obviously) from which he claims to be inspired, reduced to simple receptacles for clues. In Angels and Demons, Ron Howard succeeded in freeing himself from the sluggish material of Dan Brown to make rhythm, tachycardia, movement, in short cinema. Here, weighed down by David Koepp’s unbalanced script, Howard is unable even to hoist the excessively long Inferno at the level of an exciting entertainment, far from its two previous slaps, Rushand In the heart of the ocean. Throughout the film, we feel that the heart is not there: even Master Zimmer, at the desk, is not so in good shape.
Omar Sy “sparks” in Inferno according to Ron Howard