Though I assumed the The Da Vinci Code would be one heck of a flick, I did not agree with a majority of media outlets assumptions that the Ron Howard adaptation was the "most anticipated film of the year." Sure, it has one heck of a cast and probably an even stronger crew; but what does that guarantee nowadays?
Add in the fact that I liked Angels & Demons better -- you usually like the first book you read of the series more -- I am not entirely shocked about the rumors, or should I say reviews, beginning to circulate the net.
Da Vinci Code Reviews Surface
The first sign of trouble for The Da Vinci Code came when Sony figured it best if online publications were not allowed to view the film until the night before its opening. Ouch, talk about early damage control. Though the move by Sony does not instill confidence in moviegoers, it turns out that Sony's fears may be right on the money.
According to two reviews to surface on the web, The Da Vinci Code is anything but excellent.
A pulpy page-turner in its original incarnation as a huge international bestseller has become a stodgy, grim thing in the exceedingly literal-minded film version of "The Da Vinci Code." Tackling head-on novelist Dan Brown's controversy-stirring thriller hinging on a subversively revisionist view of Jesus Christ's life, director Ron Howard and screenwriter Akiva Goldsman have conspired to drain any sense of fun out of the melodrama, leaving expectant audiences with an oppressively talky film that isn't exactly dull, but comes as close to it as one could imagine with such provocative material; result is perhaps the best thing the project's critics could have hoped for. Enormous public anticipation worldwide will result in explosive B.O. at the start in near-simultaneous release in most international territories, beginning May 17 in some countries -- day-and-date with the official Cannes opening-night preem -- and May 19 in the U.S. and elsewhere.
Howard proves a smart choice as a director because his middlebrow tastes inspire him to go for broad strokes and forget making any real sense of these logic-busters. But why did he allow such a solid, attractive cast to turn in such stiff, unappealing performances? Salvatore Totino's glistening cinematography, Allan Cameron's assured production design and Hans Zimmer's driving score are definitely pluses. Yet "Da Vinci" never rises to the level of a guilty pleasure. Too much guilt. Not enough pleasure.
I don't want to say it... but... they should have warmed up with Angels & Demons.
The Da Vinci Code comes to theatres on May 19th, 2006.