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Holy Spirit Interactive: The Da Vinci Code, The Gospel of Judas and Other Nonsense

The Da Vinci Code, The Gospel of Judas and Other Nonsense


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Saturday, May 20, 2006

And here come the reviews ...

Belgian journalist, Chris Craps, after screening The Da Vinci Code at Cannes, 2006 has this to say:

"It's a complete mess. They didn't show it to anybody, and now you see why. I bet Ron Howard knew it was quite shaky and that it didn't work. They knew very well. But now a lot of people are going to see it, and the news that it's not working is going to come too late to them. But the second week will drop off completely. It will be a real Poseidon."

Here is a snip from Daily Variety:

Sitting through all the verbose explanations and speculations about symbols, codes, secret cults, religious history and covert messages in art, it is impossible to believe that, had the novel never existed, such a script would ever have been considered by a Hollywood studio. It's esoteric, heady stuff, made compelling only by the fact that what it's proposing undermines the fundamental tenants of Christianity, especially Roman Catholicism, and, by extension, Western Civilization for the past 2,000 years. Click here to read the rest.

From the Associated Press:

"The Da Vinci Code" drew lukewarm praise, shrugs of indifference, some jeering laughter and a few derisive jabs Tuesday from arguably the world's toughest movie crowd: critics at the Cannes Film Festival.

The year's most anticipated movie, "The Da Vinci Code" was a generally faithful adaptation of Dan Brown's monster best seller, spinning a murder thriller that stems from a cover-up of secrets about Christianity's roots. While readers worldwide devoured the novel, reaction from Cannes critics ranged from mild endorsement of its potboiler suspense to groans of ridicule over its heavy melodrama...

And the Hollywood Reporter says this:

Strictly as a movie and ignoring the current swirl of controversy no amount of studio money could ever buy, the Ron Howard-directed film features one of Tom Hanks' more remote, even wooden performances in a role that admittedly demands all the wrong sorts of things from a thriller protagonist; an only slightly more animated performance from his French co-star, Audrey Tautou; and polished Hollywood production values where camera cranes sweep viewers up to God-like points of view and famous locations and deliciously sinister interiors heighten tension where the movie threatens to turn into a historical treatise. The movie really only catches fire after an hour, when Ian McKellen hobbles on the scene as the story's Sphinx-like Sir Leigh Teabing. Here is the one actor having fun with his role and playing a character rather than a piece to a puzzle.... Click here to read more.

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