Quite Frankly, it's just average

Rating: 5/10 (29 May 2006)

Before I delve into "The Da Vinci Code," it's important to point out two things: I haven't read the book, and I'm a practicing Catholic so I'm quite familiar with the religion's doctrine. Having said that, I have to admit that perhaps I would've enjoyed Ron Howard's film a tad more had I been more familiar with the novel. As it stands, in sheer movie form, the picture is confusing, implausible and, worst of all, incredibly dull.
Despite the presence of A-list European actors, as well as great locations, "The Da Vinci Code" is very much Hollywood with its endless car chases, fortuitous coincidences and contrived dialogue. I can see this being attractive on the page since the situations move along quickly and the proceedings take place over a 24-hour period. But in cinematic language, it all translates to emotionless melodrama that is at times too verbose, and at others too earnest.
There's no question that the material is heady and controversial, though many of us are already familiar with the Mary-Magdalene-as-the-Holy-Grail theory from other sources. Harvard University symbologist professor and author Robert Langdon (Tom Hanks) is lecturing in Paris when an albino monk named Silas (Paul Bettany) murders the Louvre curator Sauniere at the museum. Langdon is lured to the crime scene by French police officer Fache (Jean Reno) because of the bizarre and "devilish" messages the victim scrawled on his body before he died. Enter police cryptologist Sophie (Audrey Tautou) who manages to get a message to Langdon that Fache intends to arrest him for Sauniere's murder, and so she helps him escape. As they keep one step ahead of the police and the murderous Silas, Langdon and Sophie use their combined talents to decipher encrypted codes that have to do with an ancient secret society called Priory of Sion, the conservative Catholic sect Opus Dei, and the location of the Holy Grail.
So without a hint of exhaustion, hunger or even a bathroom break, our duo  who barely know each other, mind you  find themselves in an armored truck where they escape, laughably, from their captor (Jurgen Prochnow), and eventually land at the home of wealthy Holy Grail expert Sir Leigh Teabing (Ian McKellen), and here the proceedings finally get interesting. McKellen delivers the best performance of the picture as he explains how church leaders have suppressed the feminine aspects of religion since the beginning of time, and how the truth about Mary Magdalene's role in Jesus' life could cripple the church. Cool and controversial stuff that is quickly deflated with Silas secretly infiltrating the villa as the police take their time knocking down the gate.
The action then moves to England, but by that time I'm sitting there with more questions rolling around in my mind than answers. If it's all a set-up (readers of the book know whom I'm talking about), why get the police involved? Or for that matter Opus Dei Bishop Aringarosa (Alfred Molina)? Ultimately, it really doesn't matter. The lack of chemistry between Hanks and Tautou, the stodgy pacing and the wordy script has by now removed whatever provocative element promised.
"The Da Vinci Code" is essentially just another average Hollywood thriller. Nothing more