I did appreciate how, even if a clue didn't immediately come into play, it became useful later to help round out the plot. His expertise in symbology certainly helped to drive the plot forward, even if it sometimes was in a misleading direction for the sake of a twist. This time around, Robert Langdon is much better suited for the task of finding the “Holy Grail” instead of being a glorified Roman tour guide.
DA VINCI CODE RATING CODE
While Dan Brown is a fantastic storyteller, and many of his connections and links to Christianity made sense, I still maintain that, at its core, The Da Vinci Code is just well-written fiction. I will admit that I first read this book because I was curious about the controversy that surrounded it. While that won’t necessarily exorcise all the channel’s demons, it should be enough, like some of Da Vinci’s most forward-thinking designs, to stay airborne.What a difference three years makes! Even though it contains all the same tropes and motifs that Angels and Demons did, The Da Vinci Code eliminates the fluff and focuses on the strengths of these individual pieces to create an enthralling adventure through Christian history.
Moriarty to Riley’s Holmes, even if the image of a brutally ruthless religious warrior feels a trifle overdone.Īfter a few dramatic misfires (“Magic City,” comes immediately to mind), “Da Vinci’s Demons” also places Starz back on comfortably escapist turf, with a show that will premiere on “Spartacus’” back, and appears designed to be sprung from its rib. The show also benefits from a solid cast, perhaps especially Ritson (“ Upstairs Downstairs”), who seems very much like a worthy Prof. Then again, audiences mostly have been unperturbed by the sometimes-fuzzy edges of the virtual world in, say, ABC’s “Once Upon a Time,” and despite its historical moorings, this feels like no less a fantasy.
DA VINCI CODE RATING SERIES
Production-wise, the eight-episode series (which Fox International Channels will launch globally in a relatively narrow window) exhibits some obvious limitations, with uneven CGI quality in replicating the pristine vistas of Da Vinci’s Florence. Riley takes a bit of getting used to as Da Vinci, but once one adjusts to the program’s tone, it’s an entertaining serialized plot with plenty of twists, nudity and violence, but not the same grim streak or stuffiness of something like “The Borgias.” (The show opens, incidentally, with a cameo by “Downton Abbey’s” Hugh Bonneville, offering a side of Lord Grantham that might require a moment to expunge.) Suffice to say Da Vinci, who like Holmes in the recent Guy Ritchie movies, sees things in a visually detailed manner others don’t, must use all his formidable intellect to survive, and to finance his inventions, ranging from early flying machines to weapons of war. Da Vinci seeks this MacGuffin along with Count Girolamo Riario (Blake Ritson), operating on behalf of the Holy Roman Church and his lascivious uncle, Pope Sixtus IV (James Faulkner). The writer-director has also concocted an elaborate latticework around his leading man, with Da Vinci seeking out the patronage of Lorenzo Medici (Elliot Cowan), while simultaneously setting his eye on Medici’s mistress (Laura Haddock) and being drawn into a chase to locate something called “The Book of Leaves,” a mysterious conduit to great knowledge and power.
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