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inferno locandina2

Regia
Ron Howard
Genere
Genres: Action, Adventure, Sci-Fi, Drama, Mystery, Thriller, Crime
Durata
121
Anno
2016

Trama

SUMMARY: Robert Langdon (Tom Hanks), the famous symbologist, follows a trail of clues tied to the great Dante himself. When Langdon wakes up in an Italian hospital with amnesia, he teams up with Sienna Brooks (Felicity 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.

Critica

REVIEW: When it comes right down to it, “Inferno” is all about vacation. The movie presents us with a series of popular destinations, all of which are photographed exquisitely, and over and over we find ourselves thinking, “Oh, I’ve been there! I remember that!” Or “That looks great, I have to go there.” And as we’re admiring the sights, people are shooting at Tom Hanks.“Inferno” is like vacation in another way — a brain vacation. It is a satisfying but thoroughly idiotic film, in which relationships make no sense, character motivations change on a dime, and Tom Hanks has weird hair. But brainless as it is, it’s artful. It is a well-made bit of silliness, a piece of construction optimally designed to maintain audience interest while garnering absolutely no one’s respect. In fact, if you put monetary considerations aside (which is a little like pushing a gorilla to the side), the movie almost qualifies as an act of collective altruism: Director Ron Howard and a talented cast set out to entertain — and succeed — all the while knowing that their reputations are not exactly going to be enhanced by this enterprise. The movie begins the festivities by throwing us into a surefire situation. Robert Langdon (Hanks), a noted expert in medieval and Renaissance symbols, wakes up groggy and drugged in a hospital. He thinks he’s in the United States, but looks out the window and sees Florence (a very nice view). A nice young doctor (Felicity Jones) tells him that his head was grazed by a bullet, that someone tried to kill him, and that the trauma has resulted in a temporary state of amnesia.
Next thing you know, an assassin shows up at the hospital, and the doctor is pushing a very tired, disoriented symbols professor down the stairs, out the door and into the cab. All the while, he hallucinates. You might ask, what does an expert in symbology hallucinate? Scenes from “Dante’s Inferno” as painted by Botticelli, of course. Come on, everybody knows that.
Meanwhile — you’re going to love this — there’s an insane billionaire (Ben Foster) out there who is as obsessed with overpopulation as Ross Perot used to be with the national debt. This billionaire thinks humanity is heading toward extinction due to overpopulation, and so he has devised a way to “cull the herd,” as it were. For the sake of our children and our children’s children, he wants to kill half the people on the planet. You know, fresh start, eliminate the deadwood. Somehow Langdon’s situation is directly related to the billionaire’s quest, though that connection is revealed only gradually. In the meantime, everybody is either chasing Tom Hanks, or shooting at him, or both. Not only are private assassins in pursuit, but so are the Italian police, members of an elite security firm and emissaries of the World Health Organization. And just to make things interesting/more absurd, the woman who runs WHO (Sidse Babett Knudsen) is the great lost love of Langdon’s life. So we have the spectacle of a man trying to get away ... from the woman who got away.
The story, based on Dan Brown’s book, has two missions, one easy and one requiring real skill. The first is to keep you wondering what’s going on. The second is to keep you curious as to what is going on. Shifts in plot and character reversals arrive with a will of their own, and it becomes entertaining just to watch the actors try to find logical justifications for the utter nonsense coming out of their mouths. Brown tosses garbage out of a speeding car, and each time, the actors catch it and arrange it beautifully before it hits the ground. Every one of them is appealing or amusing. You want an audience to care about the fate of the protagonist, no matter what the situation? Cast Tom Hanks. You want a young actress who can suggest fierce intelligence and conviction? Cast Felicity Jones. The movie wants us to believe that a Swiss WHO doctor is Langdon’s great love, and of course that makes sense, not because Langdon would ever meet such a woman, but because we saw the same actress — Knudsen — with Hanks in “Hologram for the King.” So we know they have a history.
Irrfan Khan is particularly impressive as the head of the nefarious security firm. His performance is a mix of self-satisfaction and self-disgust, of suppressed anger with the vague but unmistakable suggestion of some buried decency, and he creates for himself some of the movie’s best moments. He also looks terrific in an impeccable gray suit. That’s another thing about “Inferno”: Everybody looks crisp, tailored and of the moment. Obviously, not one of us would ever want to be chased through Europe by teams of international criminals in the service of a diabolical conspiracy. But if that were to happen, you’d want costume designer Julian Day picking out your clothes. Likewise, if you had to run for your life, Florence, Venice and Istanbul are premium locations. That way, in your downtime, you can get in a little sightseeing.
By Mick LaSalle Updated 1:24 pm, Thursday, October 27, 2016, Sfgate.com

Trailer


Altre informazioni

Rating: Rated PG-13 for sequences of action and violence, disturbing images, some language, thematic elements and brief sensuality
Official Site: https://www.facebook.com/InfernoTheMovie/Production: Columbia Pictures

Nazione
Countries: Turkey, USA, Japan, Hungary
Soggetto
Writer: Dan Brown (Based On The Novel By), David Koepp (Screenplay By)

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credits:

http://www.metacritic.com

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