The storyhere appears much weaker than the novel, as does some of itscharacters, especially the reworking of Irrfan Khan's 'Provost'.

There's inconsistencies and obvious inaccuracies with the book and Iwonder how much power Dan Brown had as executive producer. It's unfortunate that the more I think about it, themore silly the elaborate idea becomes. Hanks, slips into Langdon mode totally as expected and the delightfulFelicity Jones plays the Bond-girl style sidekick very well as we watchthem try to figure out the same puzzles and twists Langdon is usuallypitted against. It shows that they struggled withcramming as much as the butchered novel into the 121min runtime,missing possible reshoots as some of the performances are really not upto scratch, namely Sidse Babett Knudsen and Omar Sy. Howard's direction, or the editing seems sloppy and rushed withnoticeable out-of-sync audio. Though we seem to be ironically missing,The Lost Symbol where Langdon tramples over Washington's Masonichistory, which is currently in development but with Howard only sittingin a producers chair. So, Ron Howard, Tom Hanks and Hans Zimmer return for the third movieadaptation of Dan Brown's bestselling symbolist and iconologyprofessional, Robert Langdon. If the studio decides to make 'Lost Symbol' and - for once - have aLangdon movie getting great reviews, they should probably hire anotherdirector. The first two Langdon-movies are hovering at 6,6 on IMDb. Hans Zimmer's score was great, as usual, though. Guess theywanted to avoid any controversy. And the best park of the book? They completely changed it. When you make amovie with several visually looking fantastic locales around the world,it SCREAMS cinemascope. Then there's the blatant mistake of shooting the movie in standardwidescreen, instead of cinemascope, like the first two. Yes, the Langdon movies are suppose to befast paced, but if almost no scenes are allowed to breathe, does itmatter? And why do director Ron Howard keep on insisting insulting myintelligence? Like in the first two, many things are explained twice,so even the dumbest one in the audience knows what's going on. Like the first two in this franchise, 'DaVinci Code' and 'Angels and Demons', there's just something terriblywrong with the direction. Both great directors, but it wouldn't haveworked. Imagine if Spielberg had directed 'Godfather' and Coppola had directedthe Indiana Jones movies.

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