Some simplification is inevitable when condensing a novel into a two-hour movie, but Inferno adds as well as subtracts, and the new bits are invariably cheesier than what they replace. Most of the original characters are here, yet their paths diverge sharply. Scripted by David Koepp, who also worked on Angels & Demons, Inferno is less a rewrite than a remix. Inferno takes much greater liberties, to the point of bulldozing the story's ending. A decade ago, Howard and company retained the heretical plot of The Da Vinci Code, but insulated themselves from charges of blasphemy by padding it with mushy tributes to faith. Whatever the source of the discomfort, it's made for increasingly unfaithful adaptations. Or perhaps it's star Tom Hanks, the usually gung-ho actor who plays Brown's hero, Harvard professor Robert Langdon, with an uncharacteristic skepticism. Maybe it's Howard or producer Brian Grazer who's nervous about the moderately subversive elements in Brown's cleverly plotted, clunkily written novels. Yet there's one clue, hidden in plain sight, that he doesn't: He keeps letting director Ron Howard turn them into silly movies. It might seem that Dan Brown takes his art-history/conspiracy thrillers very seriously. Tom Hanks and Felicity Jones star in Inferno, a film based on the book by Dan Brown, author of The Da Vinci Code.
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