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Angels & Demons
Ron
Howard's The Da Vinci Code was a film adaptation of Dan Brown's book,
an average story about a man with a dopey hairdo and an intriguing
premise about self flagellating religious zealots with barb wire garter
belts and clandestine codes hidden within Leonardo's art. Sensibly,
Angels & Demons jettisons the dopey hairdo but to its detriment
also purges an intriguing premise. What is left is an average story
utilising an unremarkable idea and not so much as a hairdo as a talking
point.
Looking over Ron Howard's filmography it seems
clear that he has his passion projects and he has those that merely pay
the bills; for every Frost/Nixon and Apollo 13 there's an EdTV and
Backdraft. Angels & Demons is definitely a bill payer. You get the
impression that this story was conceived as a direct result of the
runaway success of The Da Vinci Code and hence suffers from a severe
case of sequelitis; Robert Langdon reduced to merely a kind of
ecclesiastical Indiana Jones decoding a seemingly endless procession of
tedious cryptic clues. The former story was based on an intriguing idea
of which Dan Brown was not the author, I suspect the central idea for
Angels & Demons was largely of Brown's manufacture.
The film includes some truly ridiculous setups that completely defy any
sane logic. Take, for instance, the set piece where our hero becomes
trapped in a high security, climate controlled vault during a power
outage. When the power goes out, the backup batteries kick in but
apparently the uninterruptible power supply doesn't power the
stringently controlled air conditioning system, neither does it power
the electronic lock on the door. It does, however, power a video
monitor (the only thing it does power other than the moody lighting)
that kindly advises how much battery life is left as you die a rapid
asphyxiating death. Indeed, judging by the rate at which our hero is
running out of oxygen, we can only presume that the power failure
results in all the air being immediately evacuated from the room as
well. Ridiculous! And this is not an isolated example.
In the end when one of the good guys is seemingly approaching certain
death, the ‘sad’ music is wailing on the soundtrack but do we care? No,
not really, but it nicely sums up the movie as a whole.
Stuart Jamieson
official website
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