Robert Langdon Collection

Tom Hanks

Felicity Jones

Omar Sy

Irrfan Khan

Sidse Babett Knudsen

Ben Foster

Ana Ularu

Ida Darvish

Paolo Antonio Simioni

Alessandro Grimaldi

Fausto Maria Sciarappa

Robin Mugnaini

Paul Ritter

Vincenzo Tanassi

Alessandro Fabrizi

Simone Mariani

Gábor Urmai

Jon Donahue

Fortunato Cerlino

Attila Árpa

Kata Sarbó

Francesca Inaudi

Maria Grazia Mandruzzato

Philip Arditti

Mehmet Ergen

Vincent Riotta

Luca Fiorilli

Cristian Stelluti

Alberto Basaluzzo

Gábor Nagypál

Gianni Annoni

Yang Haiwen

Mirjam Novak

Rebecka Johnston

Sardar Tagirovsky

Gäbor Atlasz

Gábor Dióssy

Peter Schueller

Lili Gesler

Felipe Torres Urso

Dino Conti

Mario Acampa

Pasquale Corrente

Kerem Ozen

Xavier Laurent

Büyükkol Mehmet Onur

Bálint Adorjáni

Zsolt Páll

Peter Linka

Soren Bendt Aaboe Pedersen

Maria Gnecchi

Ron Howard

Daniel P. Hanley

Hans Zimmer

Tom Elkins

David Koepp

Brian Grazer

Dan Brown

Zsófia Antal

Jille Azis

Monica Tatu

Salvatore Totino

Bence Erdélyi

Márton Vörös

Peter Wenham

Béatrice Kruger

Shahida Day

Claudette Lilly

Péter Kovács

Péter Behan

Julian Day

Zoltán Bus

Gabriella Winkler

Phil Sims

Gábor Homonnay

Nina Gold

Zsuzsa Kismarty-Lechner

Theo Park

Tomasz Krzemieniecki

Géza Kovács

Lucy Cork

Stefan Shopov

Marvin Campbell

Christoph Knobloch

Gábor Piroch

Tsvetolyub Iliev

Sona Havranova

Ivailo Dimitrov

Iván Orsányi

Stilyan Mavrov

James Swanson

Daniel Gerzseny

Stephane Fiossanangaye

Jenei Attila

Wade Eastwood

Branislav Martinak

Vencislav Stojanov

Nicholas Wittman

Emiliano Novelli

James O'Daly

Nilla Sinko

Gáspár Szabó

Paolo Frasson

Brian Greenway

Csaba Bankhardt

Fabio Bonizzoni

Stanislav Satko

Daniele Massaccesi

László Mihály

Jan Loukota

Richárd Nagy

Béla Orsányi

Shane Steyn

Gábor Szemán

József Fodor

Martin Goeres

Narantsogt Tsogtsaikhan

Wolfgang Stegemann

Imre Sisa

Abel Kocsis

Balázs Lengyel

Gianluigi Scilla

Péter Sokorai

Marco Merlini

Claudio Pacifico

Sarah Vignot

Krisztián Paluch

Martin Matejcik

Norbert Kovács

Elitsa Razheva

Sergio De Luca

Móni Csomós

Csaba Böjthe

Karen Cohen

Emma Mash

Zoey Stones

William M. Connor

Daniel Pinder

Clarice Gill

Hajós Péter

Simon Davis

Matyas Borda

Siân Miller

Bernd Mazagg

Frances Hannon

Andreas Fehrle

Mystery

Thriller

Action

Inferno

Columbia Pictures

Imagine Entertainment

United States of America

Reno

**Racing to stop men with bad intention!**

Compared to the first two films, it took a long time for the third film. But I expected 'The Lost Symbol' before this one. I don't know why they skipped that book from adapting which was done in the last minutes by the production house. My guess is it might be a controversial as the first one, or simply not good enough for the cinematic version. Anyway, this film was not as good as previous two. Once again, it was directed by Ron Howard and Tom Hanks returned as professor Robert Langdon. Two hours long, but very fast storytelling, non-stop adventures.

This is another tale in the series about fighting against the men who believes in the ancient text that's written about to curb the issue the human would face in the future, which is now. After waking up without any memory, professor Langdon with the help of a young woman escape from an assassin. In result, they look for the reason why and whoever behind it wants them dead. So it's not a good story, but entertaining film. Especially if you like action-adventure- suspense.

Nice cast, including Hanks and Jones. The other supporting cast was not bad either. Like always, it's a European adventure, particularly in Venice and neighbouring countries. Some cool secret places, might be the settings, but awesome. Since this part was not received well, I wonder the next one, 'Origin' would be made or not. Even before that, this time I expect 'The Lost Symbol' first to hit if they want to continue with the film series. This is not a film to recommend, but not bad for watching it once.

_6/10_

Filipe Manuel Neto

**Ron Howard's Inferno.**

Dan Brown has made a lot of money from his mystery books, and his popularity has meant that virtually all of his stories have been ported to the big screen. For this film, Ron Howard adapted Brown's fourth novel, set between Florence, Venice and Istanbul. In the script, Robert Langdon wakes up in a hospital in Florence and discovers that he has been attacked and shot, and that he is being pursued because he knows something important, but has lost his memory. I mean, he knows as much as we do! He will be aided by an attractive doctor who will help him understand what is going on: so, we realize that a crazy Malthusian has decided to create a virus to decimate a third of the human race, and that he is about to spread it.

If in the previous films based on Brown we had notable successes, this film would be doomed from the beginning: “Inferno” is perhaps the least inspired and most poorly written book by this author. And there are no miracles in these things: either the source material is good, or you can forget it. The screenplay is also a poor and unhappy adaptation. Because? Because it completely alters the end of the book and gives us an alternate, clichéd, idiotic ending, staying true to the beginning of the story, which starts too abruptly to work well on screen. That is, the script changes things that it should leave and respects the part of the book that most needed adaptations! The dialogues and the construction of the characters also sound bad, and everything has a poorly finished appearance.

Ron Howard has reason to look at this film and bury his head in the sand like an ostrich. For a director of his caliber, with the accolades he has, this film is simply unacceptable. The amateurism, the carelessness, the almost negligent way in which details are approached… I would forgive a newcomer or an untalented director, but not Howard.

The cast again has the participation of Tom Hanks in the role of the symbologist. Keeping his record impeccable, the actor perfectly fulfills the role and gives us everything he owes, in a committed and consistent work. Felicity Jones also did a good job, with a skillful harmony between rationality and emotion. The rest of the actors are far below: Omar Sy and Ana Ularu added little and have very little screen time; Irrfan Khan and Sidse Knudsen do a little more and better, but remain in very secondary positions. Ben Foster pretty much counts for nothing.

Technically, the film relies heavily on green screen, massive CGI, and visual and special effects. Without them, the film collapses like a house of cards. I don't usually see problems in using these technologies, they can truly enrich a film, but here, I believe, they turned the film into a kind of giant video game, where everything is done against the clock, and where there are dangers so varied that we don't even feel them. The sets and costumes are pretty good, and the choice of filming locations respects the ideas and places the book visited. Also, the soundtrack, again by Hans Zimmer, is perfectly adequate. Unfortunately, the cinematography is thoughtlessly and inelegantly directed, and the entire editing job feels rushed, excessive and far too crude.