Inferno (12A, 121 mins, )

Can a third Dan Brown thriller starring Tom Hanks as symbology professor Robert Langdon, once again saving the world with seconds to spare, be an improvement on The Da Vinci Code and Angels and Demons? Unfortunately not.

Langdon wakes up in hospital in Florence with no knowledge of what he’s doing there; apparently he has a bullet wound to the head. He has confused hellish visions (the clue’s in the film’s title). He’s rescued from an assassin’s attack by a cute doctor (recall his previous sidekicks), Sienna Brooks (played by Felicity Jones).

Meanwhile, population guru Bertrand Zobrist (Ben Foster) has thrown himself off a picturesque medieval bell tower to his death, having set up a timebomb plague called Inferno that will wipe out half the world’s population (obviously for the good of mankind – but still!). Langdon and Brooks have just hours to unravel a complex series of clues to avert the potential apocalypse.

Why do villains in novels and films never just press the button to unleash their catastrophe, but instead leave a trail of metaphorical breadcrumbs? How are Our Heroes always able to solve them, step by step, each leading neatly to the next?

And considering that Robert Langdon, as a professor of symbology, is an expert in solving clues hidden in works of Renaissance art, how come his doctor friend can do it just as easily – as can a host of baddies?

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