Inferno (2016)

Inferno is the kind of slick, globe-trotting thriller that knows exactly how to turn art history into adrenaline: a riddle-box chase through Florence, Venice, and Istanbul that moves with the brisk confidence of a well-oiled machine. Ron Howard directs with clean, muscular craft, keeping the camera and the story in constant motion while letting the European locations do what they do best—make danger look elegant. Tom Hanks remains a steady, likable anchor as Langdon, and Felicity Jones brings a sharp, restless energy that keeps the partnership intriguing even when the plot gleefully flirts with pulp. It won’t satisfy viewers craving grounded realism or quiet character study, but if you want polished, escapist entertainment with sinister imagery, ticking-clock stakes, and the pleasure of being swept from clue to clue, it delivers.

Inferno is clearly trying to be a classy, globe-trotting puzzle box—Dan Brown clues, famous art, and a ticking-clock bio-threat—powered by Tom Hanks’ steady, likable presence. The problem is it plays more like a frantic sprint through landmarks than a mystery you can actually savor, with twists and motivations that feel muddled rather than clever. Ron Howard keeps the action moving and the locations look terrific, but the relentless pacing can be exhausting and oddly reduces suspense instead of building it. If you want a clean, satisfying thriller with coherent stakes and character depth, this may frustrate you; if you’re happy with a slick, noisy scavenger hunt that’s more momentum than meaning, it’ll do the job.