The Da Vinci Code

When the book came out and I was fortunate enough to get it very early and read it, I was literally thrilled. Brown's conclusions were almost unbelievable, everything made sense. Now, with the passage of time, I see that the boy is mainly skilled at research, on which he focuses, and then crystallizes the story from it himself. Let's face it, without those researches, there is no story, or rather it is a classic treasure hunt. He knows how to write it (i.e. use the found information), and that is appreciated. Ron Howard approached the film in a Hollywood way and quite boringly. The chase for riddles here sometimes sounds almost childish. It doesn't change the fact that it works quite well and it's a film that entertains. (04/19/2014)

A suspenseful and sufficiently intricate piece that was dangerously fashionable to criticize at the time. Traditionally excellent performances by Hanks, beautiful Audrey, and devilish Bettany in a story that is attractive both in terms of historical and contemporary, as well as relational and religious aspects. On first viewing, without knowledge of the source material, it is demanding for the viewer's attention, and it is only during the second viewing that one can calmly fill in the context. (07/28/2006)

The Da Vinci Code is flat, tedious and visually unappealing. And for me, as an atheist who at most acknowledges faith in himself, the plot is also unappealing. With the exception of Ian McKellen, the actors are bland and the only thing above average here is Hans Zimmer’s dark music. I haven’t read the book, and now I definitely won’t read it. Typical Hollywood tripe sold through brilliant marketing. (06/11/2006)

Writer Dan Brown is definitely not going to become the new Umberto Eco, yet his book is quite readable. Unfortunately, the film version is rather unfortunate, given the literal adherence not only to individual scenes but often to the lines themselves, which somehow lose their meaning and logic without further explanation. This then becomes a continuous sequence of dialogues, from which the most fervent conspiracy theories, which so annoy the bigwigs in the Vatican, are suppressed into the background. Still, hats off to Ron Howard for making it flow relatively well despite the exorbitant runtime. If it wasn't for the awkward car chase that steals from The Bourne Identity and the rather clumsily filmed flashbacks, the film would have been more than decent because the scene where Langdon contemplates the cipher and the memory of Issac Newton's monument forms in front of him is amazing, as is the final kneeling. Tom Hanks is not suitable for the main role at all (the wannabe youthful look does not suit this actor), while on the other hand, Paul Bettany is excellent as the albino, including his precisely chosen accent. It’s a thriller worth a single watch, and if it hadn't had the heavy advertising, the copies in the video stores would have been covered in dust after a few months. (06/24/2006)

Like the book, the picture is rather “naive" and rather than quality, we get solid craftsmanship instead. Thanks to the flatness of the characters, the actors have very little acting to do, which is highlighted by it being rather garrulous and so the entire movie relies on vocal performances. Although this could easily be cut down a good few minutes, in the end it is watchable without great damage to your health. But the only actually positive side of the whole Code is Zimmer’s soundtrack, which makes even the most boring dialog scene seem as if it is something fundamentally important for the story. The creators tended toward the secrecy storyline, which is therefore given the most space and so only a fraction of the movie is devoted to cracking the code and this becomes just a necessary evil with no power behind it, which is a great shame. OST score: 4/5 (05/30/2006)