Adapted from the Dan Brown bestseller of the same name, Inferno follows a template that was unveiled all of a decade back in The Da Vinci Code. All those years ago, it felt markedly out of date. Today, it has a thick cobweb-layer on it.
Therein lies the principal problem with Ron Howard’s Inferno. In spite of the undeniable all-round technical competence that the old team of director Howard, screenwriter David Koepp, cinematographer Salvatore Totino and composer Hans Zimmer bring to the enterprise, the film simply doesn’t pack the sort of punch that one expects from a jigsaw-puzzle narrative.
The thrills and spills that Inferno delivers have a ring of dull familiarity. The male protagonist Robert Langdon (Tom Hanks) is joined in the latest mystery fable (as he was the first time around in Paris by Audrey Tautou) by a younger woman (Felicity Jones).