Provided by Metacritic.com
The Hollywood Reporter
Although some of the film’s many twists are not that surprising, they’re satisfyingly delivered, and with a strong supporting cast ...plus striking dream imagery, this adds up to arguably the best in the franchise so far.
Koepp has managed a brisk adaptation, although some of the dialogue can feel very forced, particularly when it comes to the clue-solving set-ups. Still, 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.
Early promise proves misleading in a sequel that should be far better than The Da Vinci Code than it actually is.
If the first film was ploddingly, airlessly faithful to its source, this follows the second in being frantically paced, chaotic and increasingly exasperating.
There’s a stern, let’s-get-to-work air to the film’s craft and conception that hampers whatever thrill of the chase “Inferno” has to offer. Fundamentally silly the film may be, but it never graduates to spryness.
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.
Time Out London
By the end, even Hanks looks a bit bored.
Once upon a time, this wackiness had some novelty value. Now it’s tedious.
Ron Howard allows all manner of contrivances to pile up in David Koepp‘s screenplay, as if relying on constant reference to Dante’s Divine Comedy would make people think, “Ooh, this is clever stuff.”
While the plot’s endless lurches and jinks are designed to hold you in a constant state of pleasurable bafflement, the cumulative effect is desensitisation: no single thread holds long enough to give you anything to cheer for or believe in.
See all 47 reviews on Metacritic.com
See all external reviews