Dan Brown’s books have been quite lucrative, leading to nearly all of his stories being adapted for film. Ron Howard directed this adaptation of Brown's fourth novel, which takes place in Florence, Venice, and Istanbul. The story begins with Robert Langdon waking up in a hospital in Florence after an attack, having lost his memory but possessing some vital information—as much as the audience does, actually! He’s assisted by an attractive doctor who helps him piece together what's happening: apparently, someone with Malthusian beliefs intends to unleash a virus to wipe out a third of humanity and is about to do so. If previous films based on Brown’s work had been successful, this one seemed destined for trouble; “Inferno” feels like his least imaginative and most poorly written book. And that's usually the case—the quality of the source material really dictates how good a film will be. The screenplay is an equally disappointing adaptation because it significantly changes the book’s ending, replacing it with something predictable, trite, and nonsensical, while clinging to a beginning that feels too abrupt for the screen. It alters aspects that should have been left alone and struggles with the parts that really needed adapting! The dialogue doesn't work well, the characters are weakly developed, and everything has an unfinished feel overall. Ron Howard might want to pretend this film never happened. For a director of his stature and experience, this is simply unacceptable. The lack of polish, the carelessness, the almost dismissive approach to details… I’d be willing to overlook these issues in someone new or less talented, but not from Howard. Tom Hanks returns as the symbologist, delivering a solid performance and giving it his all in a consistent portrayal. Felicity Jones also does well, balancing logic and emotion effectively. The rest of the cast is underwhelming; Omar Sy and Ana Ularu don’t make much of an impact with limited screen time, while Irrfan Khan and Sidse Knudsen fare slightly better but remain in minor roles. Ben Foster is essentially wasted. The film relies heavily on green screens, extensive CGI, and visual effects. Without them, it would fall apart. I generally appreciate these technologies when used well to enhance a film, but here they transform the movie into something resembling an over-the-top video game, with dangers that feel artificial and rushed. The sets and costumes are good, and the filming locations accurately reflect those in the book. Hans Zimmer’s score is also perfectly serviceable. However, the cinematography feels haphazard and clumsy, and the editing feels hurried, excessive, and rough around the edges.

Source on TMDB