Out Now On-Demand

His greatest challenge. Humanity's last hope.

Oscar-winning director Ron Howard returns to direct the third film based on the bestselling series by Dan Brown (The Da Vinci Code), led once again by Tom Hanks as famous symbologist Robert Langdon. Co-stars fellow Academy Award nominee Felicity Jones (The Theory of Everything).

Langdon is on a trail of clues tied to the great Dante himself. When he wakes up in an Italian hospital with amnesia, he teams up with Sienna Brooks (Jones), a doctor he hopes will help him recover his memories. Together, they race across Europe and against the clock to foil a deadly global plot.


Directed by

Written by

  • David Koepp
  • (based on the novel of the same name by Dan Brown)

Mystery, Thriller


Rating: M Violence and offensive language

USA, Japan, Turkey, Hungary


Aaron Yap


Ron Howard’s workmanlike adaptations of Dan Brown’s Robert Langdon bestsellers will never be regarded as paragons of the thriller genre, but I’ll admit to getting a fleeting kick out of Angels and Demons’ ludicrous plot, which imagined the Illuminati conspiring to blow up the Vatican with an antimatter bomb. Inferno, the third in the film series, is very much in the same ballpark of crazy, following symbologist Langdon (Tom Hanks) as he scrambles through another serpentine trail of cryptic clues and shadowy figures.

This time, saddled with gimmicky memory loss and puzzle-loving doctor Dr. Sienna Jones (Felicity Jones), he’s on a mission to prevent the release of a deadly plague that, according to its grandly deluded billionaire creator Bertrand Zobrist (Ben Foster), will save humanity by culling 50% of its population.

Preposterous pablum from start to finish, Inferno packs apocalyptic imagery, touristic Italian landmarks, laughable drone chases, convoluted twists and an ill-fitting romantic subplot into its clunky, overstuffed two hours. Any film that features Irrfan Khan dryly quipping while plunging daggers into the back of people’s necks is worth a chuckle or two, but the material is pretty much National Treasure-level, by-the-numbers escapism at this stage.

Hanks is on auto-pilot, Jones fails to convince as the fetching, brainy sidekick, and Howard seems like he’s completely checked out, too frequently resorting to hysterical freneticism that fancies Langdon as the Jason Bourne of code-breaking and art history. Where the previous films fell on the right side of enjoyable airport paperback junkiness, Inferno is mostly just junk.

Total Film (UK)


Having already taken two rides on the Dan Brown merry-go-round, shouldn't this have been the one where Ron finally got it right?

Empire (UK)


It's not the worst of the trilogy, but this is less for fans of thrillers and more for people who are pining after last year's holiday to Florence.

Hollywood Reporter


Arguably the best in the franchise so far.

Variety (USA)


Fundamentally silly the film may be, but it never graduates to spryness.

Screen Daily


Howard keeps the viewer constantly occupied, Felicity Jones is an engaging sidekick, and there's clearly a lot more mileage left for Tom Hanks in this franchise's tank ...

TimeOut (UK)


Our not-desperately-dynamic duo trundle from one European gallery to another, sharing easily digestible info-nuggets about Dante.

The Guardian (UK)


Purgatorio is maybe closer to it - something bad is happening, not the full Inferno, but it could be the gateway to the Paradiso of this fantastically boring film actually coming to an end. (Graeme Tuckett)


This franchise, no matter what the box-office receipts say, is officially dead in the water.

NZ Herald (Russell Baillie)


Watching it feels like signing up to a tour group visiting the sites of Brown's less popular works and you're not allowed off the bus. (Daniel Rutledge)


Achieves the difficult task of somehow being both a tedious chore and cartoonishly silly.

It is fun at times but it’s better off being watched at home rather than in the cinemas.

Inferno reunites Ron Howard and Tom Hanks once again adapting a Dan Brown Novel, Inferno. The movie also stars Felicity Jones, Ben Foster, Irrfan Khan and Omar Sy.

Billionaire Bertrand Zobrist believes human life is near it’s extinction due to overpopulation. In return, he’s invented a plague, Inferno. In the meantime Robert Langdon, wakes up in Florence with a head trauma and for reasons unknown he’s being chased by a secret society who believes he’s got the key to Inferno.

It has been 7 years since the last Dan Brown adaptation, Angels & Demons, and even though negatively received it still made a ton of money. It was only a matter of time till the latest Dan Brown novel gets a movie adaptation. To Ron Howard’s credit the film looks great.

We get to see Tom Hanks solve puzzles once again and it’s entertaining. As ridiculous as the puzzles are they are fascinating. One character that stole the movie is Irrfan Khan, who plays Harry Sims and it is an incredibly impressive character, it’s very James Bond like and Irrfan Khan is great in the role.

Unfortunately apart from Irrfan Khan and the minor entertaining moments. The movie falls apart on it’s story telling, majority of the movie is dull and apart from Tom Hanks you’re never really invested in it’s characters. It tries to be an action movie through it’s pacing and cinematography but it didn’t resonate well in the screen and some parts does become boring.

Overall Inferno had some great moments here and there but it never really took of. Majority of the characters are uninteresting and it feels as if everyone just did it for the paycheck. The trivia were interesting and the movie has some several intriguing twists in the end it’s still a dull movie. It is fun at times but it’s better off being watched at home rather than in the cinemas.

A sumptiously filmed thriller that turns into a corny parody

The usual formula for the cat-and-mouse thriller consists of bad guys chasing good guys (who keep escaping), with the cycle repeated several times until the movie ends. There are many variations of course, and the premise for Inferno (2016) is based on lethal toxins capable of mass destruction. Set in fabulously exotic locations, the film doubles as a travelogue in case the plotline fails. And fail it does.

We meet the battered Professor Robert Langdon (Tom Hanks) in an amnesiac condition on a hospital bed, confused about everything except his attractive doctor, Sienna Brooks (Felicity Jones). When an assassin tries to finish him off, the couple head off on a kind of tourist speed-dating that takes in the best views of Florence, Venice and Istanbul. A deranged but arithmetically gifted billionaire calculates that overpopulation will destroy the planet and he wants to release a nasty liquid that can kill half of humanity (roughly 4 billion, give or take a few). The World Health Organisation, several gendarme platoons and various evil exploiters out for a fast buck all chase each other excitedly for about two hours until the closing credits produce relief.

To describe the plotline as convoluted is being kind. But it does have that certain Rubik’s Cube quality where every turn leads nowhere and every character except the Professor turns out not to be who we thought they were. By the time the Professor’s memory returns much water has gone under the bridge (normal in Venice) and many beautiful ancient museums and historical artefacts are visited, albeit rather quickly. Highlights of the Langdon/Brooks getaway include the Boboli Gardens, the Florence Institute of Arts, and the Uffizi Gallery, passing classical works by Michelangelo and of course images from Dante’s Inferno. While the plot is implausible the tour is superb.

The endless chase provides little opportunity for any character development, but the film is entirely spectacle-driven anyway. The skilfully nuanced and deeply furrowed wrinkles between Tom Hanks’ eyes that so wonderfully spelt gravitas in Sully (2016) are still permanently attached but here spell confusion and forbearance with a muddled script that barely holds the film together. In attempting to make sense of what is on screen, both the professor and the doctor double as roving narrators, explaining to audiences what on earth is going on. While this is a novel approach to making cinema out of Dan Brown’s novel, it turns a thriller into something closer to a sumptuously filmed but corny parody.


Several plots running through the movie, got a little confusing. Who was following who...Scenary was spectacular and little twists made this a worthwhile watch. Robert Langdon great character, compares with modern day Sherlock Holmes. Needed a few more puzzles.




Worth Seeing

Movie is good a little slow in places almost like they a forcing the story line to work. Tom Hanks as always is great as Robert Langdon It has some very clever misdirection when they choose use them over all worth seeing as one of the Robert Langdon movies.