The Da Vinci Code mystifies its audience through a stimulating yet bloated script.

Rating: 7/10 (19 December 2018)

Controversial for its proliferation of the "mythical" Priory of Sion and fraudulent ideology that Christianity is built based upon a lie, there is nothing quite like this to stir up religious warfare. Quite often my opinion is in the minority, and we visit that zone once again because I just adore this film. Yes, there are gaping plot holes and heavy hand-holding as the mystery unravels, but sweet Mary Magdalene it is so incredibly absorbing and interesting. It is one of the few conspiracy theories that stimulates my ageing brain. A symbologist is the prime suspect in an investigation for the murder of the Louvre curator, however the victim left encoded clues that soon start to unravel an ancient mystery. Religion is the catalyst for death. As long as one God is said to exist, people will continuously murder in his name. Brown's perspective for the radicalisation of faith and the centuries of unnecessary deaths all in the name of Christianity is a sentiment that I also share. However, regardless of my (or your) religious views, this mystery is still thought-provoking and paced meticulously well. It consistently involves you, allowing you to wrap your mind around the enigma that is the "cryptex". The adequate amount of both informative plot points and character backstory allows the story to be intuitively engrossing. Small details in Langdon and Neveu's past allows them to be somewhat relatable, yet it never felt unnecessary. These scenes, whilst prevent the characters from being completely one-dimensional, become important to the mystery. Hanks and Tautou were functional, they keep the narrative moving. Applause for McKellen though, as he was simply scrumptious. The twenty minute dissection of Da Vinci's "The Last Supper" was mesmerisingly fascinating. Praise for Zimmer's score should not go amiss, particularly the final track "Chavalier De Sangreal". Within the perplexing nonsense, there are underdeveloped sub-plots. Opus Dei was underused, especially the talented Molina. Still, nonsensical hooey fun.