What's possibly the biggest disappointment of the film is the factual reality that the story is based on, and as much as we all might like the previous, popular Brown conspiracies, this story is a real looming crisis. Again, giving me the assumption that the film was rushed and not the polished film it should have been. Zimmer's score is of the recognisable Langdon theme but, it's been digitised adding a terrible technical feel that might accompany a espionage thriller. A lot of the reasonings are just weak and unrealistic which is a shame for something which could actually happen.
The story here appears much weaker than the novel, as does some of its characters, especially the reworking of Irrfan Khan's "Provost".
There's inconsistencies and obvious inaccuracies with the book and I wonder how much power Dan Brown had as executive producer. It's unfortunate that the more I think about it, the more silly the elaborate idea becomes. Hanks, slips into Langdon mode totally as expected and the delightful Felicity Jones plays the Bond-girl style sidekick very well as we watch them try to figure out the same puzzles and twists Langdon is usually pitted against. It shows that they struggled with cramming as much as the butchered novel into the 121min runtime, missing possible reshoots as some of the performances are really not up to scratch, namely Sidse Babett Knudsen and Omar Sy. Howard's direction, or the editing seems sloppy and rushed with noticeable out-of-sync audio. Though we seem to be ironically missing, The Lost Symbol where Langdon tramples over Washington's Masonic history, which is currently in development but with Howard only sitting in a producers chair.
So, Ron Howard, Tom Hanks and Hans Zimmer return for the third movie adaptation of Dan Brown's bestselling symbolist and iconology professional, Robert Langdon.