The prequel to The Da Vinci Code sees Tom Hanks reprise his role as Harvard cryptologist Robert Langdon, with director Ron Howard also returning.
Langdon heads to Rome when a plot against the Catholic Church is revealed and four cardinals are brutally murdered. The mysterious force behind these attacks? The Illuminati - a shadowy organisation thought long extinct. He joins forces with Vittoria (Ayelet Zurer), a beautiful Italian scientist, embarking on a hunt through sealed crypts, dangerous catacombs, deserted cathedrals and even to the heart of the most secretive vault on earth.
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This is an improvement on The Da Vinci Code, which we reviewed as “essentially a film comprised of rather stodgy conversations”. Not being familiar with the source material, I found Angels & Demons to be a decent enough watch, well paced and diverting from an otherwise uneventful afternoon.
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Less turgid and aggravating than its predecessor, this cleverly produced melodrama remains hamstrung by novelist's Dan Brown's laborious connect-the-dots plotting and the filmmakers' prosaic literal-mindedness in the face of ripe historical antagonisms, mystery and intrigue.
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Angels & Demons is not that bad. Langdon is still spouting academic text but the puzzles he solves are clear cut enough for us to understand them. Rome looks stunning.
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It may contain as much conspiracy theory twaddle as the previous Langdon treasure hunt but here the hokum just flies by. That it isn't as boring as its predecessor is in itself a minor miracle.
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I was left feeling relatively entertained, but disappointed in the knowledge that Hanks and Howard are capable of so much more.
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Plucking the same violent, occult strings as "Da Vinci" while avoiding its leadenness, Angels keeps the action coming for the best part of 139 minutes.
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It's beautifully shot, competently acted, impeccably structured, and jaw-droppingly stupid
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