The Da Vinci Code 2006 123movies

Watch: The Da Vinci Code 2006 123movies, Full Movie Online – Dan Brown’s controversial best-selling novel about a powerful secret that’s been kept under wraps for thousands of years comes to the screen in this suspense thriller from Director Ron Howard. The stately silence of Paris’ Louvre museum is broken when one of the gallery’s leading curators is found dead on the grounds, with strange symbols carved into his body and left around the spot where he died. Hoping to learn the significance of the symbols, police bring in Sophie Neveu (Audrey Tautou), a gifted cryptographer who is also the victim’s granddaughter. Needing help, Sophie calls on Robert Langdon (Tom Hanks), a leading symbologist from the United States. As Sophie and Robert dig deeper into the case, they discover the victim’s involvement in the Priory of Sion, a secret society whose members have been privy to forbidden knowledge dating back to the birth of Christianity. In their search, Sophie and Robert happen upon evidence that could lead to the final resting place of the Holy Grail, while members of the priory and an underground Catholic society known as Opus Dei give chase, determined to prevent them from sharing their greatest secrets with the world..
Plot: A murder in Paris’ Louvre Museum and cryptic clues in some of Leonardo da Vinci’s most famous paintings lead to the discovery of a religious mystery. For 2,000 years a secret society closely guards information that — should it come to light — could rock the very foundations of Christianity.
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Ratings:

	6.6/10 Votes: 433,090
	25% | RottenTomatoes
	46/100 | MetaCritic
	N/A Votes: 8153 Popularity: 28.296 | TMDB

Reviews:

Each breath you take is a sin. No shadow will be safe again, for you will be hunted by angels.

The Da Vinci Code is directed by Ron Howard and adapted to screenplay by Akiva Goldsman from the novel of the same name written by Dan Brown. It stars Tom Hanks, Audrey Tautou, Ian McKellen, Paul Bettany, Jean Reno, Alfred Molina and Jürgen Prochnow. Music is scored by Hans Zimmer and cinematography by Salvatore Totino.

When a man is murdered inside the Louvre, his body is found to be surrounded by cryptic messages. The police call in American symbology expert Robert Langdon (Hanks) to decode the clues. When he is joined by Parisian cryptologist Sophie Neveu (Tautou), it quickly becomes apparent that nothing is as it first seems and a mystery begins to unravel that could shake Christianity to its very core.

Extended Cut (Blu-ray) Version Viewed.

I haven’t read the book! And I love treasure hunt/clue chasing movies! So I came to Ron Howard’s hugely successful film (over $600 million in worldwide profit) bereft of literary pressure and with only a modicum of genre expectation. Perhaps this is why I’m apparently only in a small percentage of film lovers who really enjoyed the film? In spite of those gargantuan financial figures.

Ultimately it’s very safe film making, with a director and cast guaranteeing professionalism, but it weaves a magical mystery tour full of cryptic clues, secret organisations and cover ups. Yes, there is a good deal of corn thrown in as well, which inevitably stops the adaptation from being hyper intelligent. There’s also an understanding on my part as to why many feel it’s just too talky, but was the film ever going to be unfurled as an action movie blockbuster for the popcorn munching crowd, like National Treasure et al?

It is a clever conspiracy thriller full of twists and turns with a outlandish revelation at the finale. It’s also very appropriately performed by the cast (serio brooding and fret), and when McKellen joins the fray after an hour of film it has a little class as well, while Zimmer’s score is a majestic blending of choir, strings and synths. I maintain that the film didn’t deserve the critical whacking it got, but again I say I had a blank canvas going in for my first viewing.

I wasn’t sold to it because of controversy or had a saliva tinged mouth having worshipped at the altar of Dan Brown, I expected exactly what I got. A flawed but ever so intriguing adult mystery thriller, and not even Hanks’ hair stopped me having a great time with the movie. 7/10

Writing this review might be considered an act of vanity. Until recently I was among the very few who hadn’t seen The Da Vinci Code, or even read the book. But now I have done so — watch the movie, that is. I still have no plans to read the book. But is there anyone left out there who might benefit from a review?

Mostly I thought the movie was rather silly. Oh, I know that the book was researched about as well as your average documentary, and that the plot is intricate and suitably complex for a thriller. Like a spy thriller, it develops that the two heroes can never be sure who they can trust. In fact, the short answer seems to be “No one!” There are plenty of plot twists, reverses and surprising revelations, some nifty but others that are utterly predictable. But it lost some of its credibility for me near the beginning when the female lead drove her car at a high rate of speed in reverse in and around traffic, faster than most drivers could manage driving forward. Really?

There is a lot of action in the movie, but it lacks the exuberance and humor of a classic like Raiders of the Lost Ark. I guess religion is a serious business.

better than many critics have given it credit for
From the way the critics have gone after “The Da Vinci Code,” you’d think that Ron Howard himself had been jealously guarding the location of the Holy Grail all these years and was just now revealing it to all the world for his own nefarious (i.e. commercial) purposes. Actually, despite all the critical hostility and rancor, this turns out to be a reasonably entertaining adaptation of a reasonably entertaining novel, far from a classic or a work of art, but hardly the pile of cinematic refuse so many of the reviewers have led us to believe it is.

As a work of history, the novel is a passel of nonsense, and only those with a bent towards conspiracy theory overload would be foolish enough to believe a minute of it. But as a work of imaginative fiction, “The Da Vinci Code” certainly gives its audience the neck-twisting workout they’ve paid good money to receive.

It would be pointless to reiterate the plot of a novel that has probably had the biggest readership of any literary work since “Gone With the Wind.” Suffice it to say that a mysterious murder in the Louvre sends a Harvard symbologist and the dead man’s granddaughter on a clue-driven search for the famed Holy Grail. Along the way, the two uncover a grand conspiracy on the part of a renegade Catholic order to protect a secret that, if it were revealed, could shake the whole of Western civilization down to its very foundations.

Despite the phenomenal – one is tempted to say “unprecedented” – commercial success of his work, Dan Brown is no great shakes as a writer; his characters are, almost without exception, drab and two-dimensional, and his dialogue, when it isn’t being overly explicit in pouring out explanations, sounds like it was written by a first-year student in a Writer’s 101 workshop. But the one undeniable talent Brown does have is his ability to knit together a preposterously complex web of codes and clues into an airtight tapestry, and to make it all convincing.

The movie is very faithful to the novel in this respect. It moves quickly from location to location, never giving us too much time to question the logic (or illogic) of the narrative or to examine the many gaping plot holes in any great detail. Writer Akiva Goldsman has encountered his greatest trouble in the scenes in which the action stops dead in its tracks so that the characters can lay out in laborious detail the elaborate story behind the clues. Yet, this is as much the fault of the nature and design of the novel as it is of the man given the unenviable task of bringing it to the screen. Moreover, perhaps in the interest of time and keeping the action flowing, Robert and Sophie come up with solutions to the myriad riddles much too quickly and accurately, with a “Golly, gee, could it mean_______?” attitude that borders on the ludicrous. But, somehow, Howard makes most of it work. Perhaps, it’s the clunky literal-minded earnestness with which he approaches the subject that ultimately allows us to buy into it against our better judgment.

Tom Hanks is stolid and passive as Dr. Robert Langdon, the college professor involuntarily driven into all this cloak-and-dagger intrigue, but Audrey Tautou has a certain subtle charm as Sophie, the woman who may play more of a part in the unraveling of the mystery than even she herself can imagine. Jean Reno and Paul Bettany have their moments as two of the less savory players in the story, but it is Ian McKellen as Sir Leigh Teabing, an expert on all things related to the Holy Grail, who walks off with the film. His scenery-chewing shtick pumps some much needed life into a tale essentially populated by underdeveloped stick figures.

The religious controversy surrounding both the novel and the film is as ludicrous as it is unjustified. Anyone whose belief system could be seriously shaken by this absurd mixture of unsubstantiated myth-making and plain old-fashioned wild speculation couldn’t have had a very solid foundation of faith to begin with.

The rest of us can appreciate “The Da Vinci Code” for what it is, an overblown but epic exercise in code-busting and clue-decoding – in short, the “Gone With the Wind” of whodunits.

Enough with the religious debate. It’s still a good movie.
In the three years since it’s publication, “The Da Vinci Code” has of course gained a cult following and has finally arrived on the silver screen. I will admit that there are some scenes from the book that the movie omitted due to time constraints, but the movie overall does a very good job. We might expect a Ron Howard movie to tug at our emotions, but this one does no such thing. It blows your mind as much as the novel does.

And then there’s the characters. As Harvard symbologist Robert Langdon, trying to expose a 2,000-year-old religious cover-up, Tom Hanks makes the most of his role, even with that weird hairdo. As Det. Sophie Neveu, trying to find out what was behind a certain murder, Audrey Tautou plays with the audience: she looks sweet, but this woman can gravitate between nice and acerbic. As Sir Leigh Teabing, Ian McKellen does as great a job as we can anticipate from a famous British actor. As Capt. Bezu Fache, Jean Reno is as good as always. Also starring are Alfred Molina as Cardinal Aringarosa, Paul Bettany as Silas, and Jurgen Prochnow as Andre Vernet, all doing a very good job.

Does the movie have any problems? Well, there seems to be a lot of running around, so you wonder how much that adds to the story. Also, I don’t know whether or not this counts, but there’s the possibility that the presence of someone like Tom Hanks distracts from the plot. And one has to wonder whether Audrey Tautou is there mostly for looks. What about the probability that this story is pretty unlikely? Maybe, But overall, I don’t think that these factors subtract from the movie’s quality. I really liked “TDVC”, and I’m sure that you will. As long as we understand that this is a movie – albeit one that really gives us something to think about – then it’s all good.

So what do YOU think that the Mona Lisa means?

Other Information:

Original Language en
Runtime 2 hr 29 min (149 min), 2 hr 54 min (174 min) (extended cut), 2 hr 54 min (174 min) (extended)
Budget 125000000
Revenue 767820459
Status Released
Rated PG-13
Genre Mystery, Thriller
Director Ron Howard
Writer Akiva Goldsman, Dan Brown
Actors Tom Hanks, Audrey Tautou, Jean Reno
Country United States, Malta, France, United Kingdom
Awards 8 wins & 21 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital, DTS, SDDS (8 channels), Dolby Atmos
Aspect Ratio 2.39 : 1
Camera Arricam LT, Cooke S4 Lenses, Arricam ST, Cooke S4 Lenses, Arriflex 235, Cooke S4 Lenses, Cine SL 35, Cooke S4 Lenses
Laboratory DeLuxe, Hollywood (CA), USA, EFILM Digital Laboratories, Hollywood (CA), USA (digital intermediate)
Film Length 3,950 m (Portugal, 35 mm), 4,083 m (Sweden)
Negative Format 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision2 Expression 500T 5229, Vision 250D 5246)
Cinematographic Process Digital Intermediate (4K) (master format), Super 35 (source format)
Printed Film Format 35 mm (anamorphic) (Kodak Vision 2383), D-Cinema