the da vinci code

What lớn know

What makes Dan Brown's novel a best seller is evidently not present in this dull and bloated movie adaptation of The Da Vinci Code. Read critic reviews

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Movie Info

A murder in Paris' Louvre Museum and cryptic clues in some of Leonardo domain authority Vinci's most famous paintings lead lớn the discovery of a religious mystery. For 2,000 years a secret society closely guards information that -- should it come lớn light -- could rock the very foundations of Christianity.

  • Rating: PG-13 (Disturbing Images|Brief Drug References|Violence|Sexual Content|Some Nudity|Thematic Material)

  • Genre: Mystery & thriller, Drama

  • Original Language: English

  • Director: Ron Howard

  • Producer: John Calley, Brian Grazer

  • Writer: Akiva Goldsman

  • Release Date (Theaters):  wide

  • Release Date (Streaming):

  • Box Office (Gross USA): $217.5M

    Xem thêm: phim người vô hình

  • Runtime:

  • Distributor: Sony Pictures Entertainment

  • Production Co: Imagine Entertainment, Sony Pictures Entertainment

  • Sound Mix: DTS, Dolby SRD, SDDS

  • Aspect Ratio: Scope (2.35:1)

Cast & Crew

News & Interviews for The Da Vinci Code

Critic Reviews for The Da Vinci Code

Audience Reviews for The Da Vinci Code

  • Oct 29, 2020

    The Da Vinci Code has been and released lớn incredible box office appeal. I missed the train of when this book was hugely popular and the world was talking about Dan Brown endlessly. I found it interesting they ignored Angels and Demons as the first entry and created Da Vinci Code as the origin story-line. My first reactions lớn this film will be quite negative as the long running time and convenient style twists and turns don't hold up. I've read Angels and Demons sánh my initial issue was the central casting of Tom Hanks. The actor is no slouch but I felt he was miscast in the central role. The issue with Hanks might even be the films screenplay, which relies too heavily on suspension of disbelief. How many characters are connected lớn this massive conspiracy? The book works better in this story-line style due lớn the nature of airport fiction in general, but the screenplay doesn't distinguish itself enough and the long running time is too much. I enjoyed the ending and Zimmer's wonderful film score during that conclusion. Ron Howard wouldn't have been my first choice and his team-up with Akiva Goldsman lacks a coherent story. There was opportunity but sadly I found this tiresome and muddled. I'm going lớn view the next films due lớn myself checking out the books in comparison, sánh look out for my next reviews. 20/10/2020

  • Aug 06, 2014

    Film adaptations of bestselling books are very often rushed, sub-par affairs. When a book becomes a bestseller, being widely advertised and talked about everywhere, the pressure is often on lớn make the film quickly, before the hype begins lớn fade and chances of a big opening weekend are dashed. Directors often react lớn this tight tournaround by slavishly reproducing on screen the words that are on the page, resulting in works lượt thích One Day and the first two Harry Potter films which don't use cinematic storytelling effectively lớn justify their stories outside of their hype. You'd lượt thích lớn think that Ron Howard, one of the most successful and populist directors around, wouldn't fall into this trap. He is, after all, the man who produced a cracking drama in Apollo 13 despite sticking rigidly lớn the in-flight transcripts of the Apollo crew. Having turned his talents lớn subjects as varied as mermaids, firemen and mathematics, you wouldn't bet against him being a dab hand at the theological thriller. But whatever the appeal of its source material, The Da Vinci Code is a total clunker. Like sánh many of its predecessors, any discussion of The Da Vinci Code has lớn begin with a dismissal of the religious hysteria surrounding it. It's certainly not the first film that's drawn the ire of the Catholic Church, and based upon said church's ridiculous response, it won't be the last. We are dealing with an organisation which stationed nuns outside screenings of The Exorcist in America, sprinkling paying punters with holy water as they went in and giving them tư vấn numbers lớn Điện thoại tư vấn on their way out. By calling for a boycott of the film, the Catholic Church (or individuals and elements therein) played completely into the hands of both the filmmakers and the church's critics. Such a gesture, on whatever grounds, serves lớn paint Christians as thin-skinned sheep, seeking lớn shut down a debate which they should be having and encouraging. The smart thing that any Christian should have done then, and should vì thế now, is lớn give the film a fair lập cập, if only sánh it can prove how ridiculous it is, and then use it lớn start a dialogue that potentially could open up the Gospel lớn people for real. The claims of Dan Brown's book have been comprehensively dispelled by numerous authors and documentary filmmakers, with even sections of the church pointing out inconsistences and misappropriations in his work. There is no evidence at all that Jesus had a physical bloodline, or for a physical relationship with Mary Magdalene, or for the existence of a Holy Grail, whether physical or conceptual. But even if any one or more of these were true, lớn worry obsessively over them is lớn miss the point, focussing on superficial matters rather than vãn the deeper truth of Christianity. Of course, from a filmmaking point of view, it doesn't matter in the slightest that Brown's ideas are fanciful beyond belief. Many films have used bizarre, apocryphal or just downright silly aspects of religion lớn tell a gripping story and often illuminate a deeper truth. Indiana Jones and the Last Crusade has very little basis in historical fact, but it's still a powerful statement about faith and the dangers of placing material gain before spiritual fulfillment. Likewise, The Last Temptation of Christ speculated on Jesus having sexual relationships, but it used this provocative idea lớn explore temptation, desire and the burden the Messiah faced during his time on Earth. The most illuminating comparison here, however, is with The Ninth Gate, Roman Polanski's preposterous late-1990s thriller about a gateway lớn demonic power contained in books. While its initial premise was promising and its first ten minutes forbidding, the film quickly descended into a quagmire of plot holes and poor special effects, culminating in a totally botched ending. But while The Ninth Gate sees Polanski showing contempt for both his audience and the material, The Da Vinci Code commits the far lesser sin of well-meaning incompetence. The first and biggest problem with The Da Vinci Code is that it treats its audience lượt thích idiots. Every single detail of the plot is spoon-fed lớn us as if we are incapable of joining the dots ourselves. While there is a lot of terminology lớn giảm giá khuyến mãi with, and therefore some exposition can be justified, having actors vì thế nothing but explain the plot does not make for compelling drama. The screenplay comes from Akiva Goldsman, who did a good job on A Beautiful Mind but also wrote Batman and Robin. A related problem is that the film takes itself far too seriously. Any theological thriller worth its salt has lớn acknowledge the suspension of disbelief needed lớn accept its ideas, or at least must offer something on a structural level lớn keep our attention if we can't. But while Last Crusade could be enjoyed as both a big adventure and a moral insight, The Da Vinci Code demands that you take it seriously and comes out all the more po-faced and boring as a result. Brown did the production no favours in this regard, claiming that "all descriptions of artwork, architecture, documents and secret rituals are accurate." Had the film taken the approach of its stars, positioning itself as a good story containing a lot of nonsense, that would have been much more appealing. Instead, the expository tone and grave delivery of the actors robs us of any thrills and reduces the whole thing down lớn a drudging lecture. This drudgery is reflected in the visuals. Salvatore Totino is a workable cinematographer: he worked with Howard on The Missing and Cinderella Man prior lớn this, as well as shooting Any Given Sunday with Oliver Stone. But whatever sharpness and brightness he brought lớn those productions has been replaced here with dimly light, poorly-composed scenes where the actors and camera barely move. It's no wonder that Mark Kermode's natural response was lớn scream "turn the light on!" when reviewing the film on Đài truyền hình BBC Radio 5Live. The one genuinely enjoyable scene in the film comes when Tom Hanks and Audrey Tautou drop by the house of a grail expert, played by Ian McKellen. This is the one part of the film where Howard allows his actors lớn unspool freely and relax into the sillier aspects of the plot. While the arguments being put before us are still complete hokum, it's watchable hokum and it actually feels lượt thích the plot is going somewhere. But once that scene is over, it's back lớn the pompous and ill-informed conspiracies for what feels lượt thích another seven year. The performances in The Da Vinci Code are bafflingly below-par. Even if Hanks' terrible haircut can be tolerated, he still spends most of the film stumbling from scene lớn scene totally confused, lượt thích it was his very first film. Tautou has none of the grace or joie de vivre that she showed in Amelie, coming across as annoying and out of her depth. Paul Bettany is wasted in a role that becomes meaningless when played dead straight, and Alfred Molina is largely phoning it in. Only Ian McKellen gets the room he needs lớn express himself, and we miss him whenever he's not on screen. The Da Vinci Code is a dismal and disappointing thriller that is more insulting for its poor scripting than vãn its theological pretentions. Howard's direction is utterly lacklustre, most of the cast seem puzzled as lớn why they are there, the script has very little nuance and the whole thing is far too grim and serious. If you want a serious examination of Christian theology, this is definitely not the place lớn come. The only thing this film can produce is boredom or unintentional hilarity.

  • Oct 27, 2012

    I don't think it lived up lớn the hype. Tom Hanks is an excellent actor, but this is not his best performance. His character just doesn't have the depth it should have. And the story isn't that easy lớn follow.

    Super Reviewer

  • Oct 02, 2012

    Xem thêm: wednesday child is full of woe

    I've never read the books sánh I never really wanted lớn watch this film but 6 years after its release I watch it and found it entertaining, The story was brilliant and had some good twists in the right places, All the cast were great, My only problem was I found most of the story hard lớn follow and understand, I eventually understood but I still have a few questions that I could of done with being answered but I still enjoyed the film.

    Super Reviewer