Crítica de Inferno

Published on April 1, 2026

There is a switch. If it is activated, half of the Earth’s inhabitants will die, but if it remains untouched, humanity will be extinct in 100 years. What would you do?

The trio formed , Tom Hanks, and Hans Zimmer returns to bring us another story adapted from a novel , featuring the beloved character Robert Langdon. I’m talking about “Inferno.”

In this installment, Robert Langdon must race against time to save humanity, following clue after clue, which he excels at, through Dante’s “Inferno.” However, this time his task is made particularly difficult as he wakes up in a hospital without any memory of the past 48 hours, with his deductive skills severely diminished.

Don’t worry, I won’t spoil anything more; this was just an introduction to the film and the story. As you may know if you typically read my reviews, I dislike spoilers, so feel free to read on without fear of major plot revelations.

Ron Howard is well-known, and his directorial experience is impeccable, ensuring that he will deliver an excellent product, which he certainly does here. This time, he takes us on a relentless race against the clock that offers no moments of respite, featuring dizzying scenes and moving cameras, especially at the beginning of the film, which makes us feel as confused and disoriented as Professor Langdon does—desperate.

Tom Hanks is superb, incredibly comfortable in the role of Langdon, handling it deftly throughout. While some detractors may have questioned Hanks’ casting as Robert Langdon in the first film, “The Da Vinci Code,” it is clear now that no one can envision anyone else portraying this professor of religious symbology.

Joining Hanks is Felicity Jones, who performs very well as a young doctor, a prodigy since childhood, inadvertently swept into this unexpected race to save the world.

The screenplay is crafted , who previously adapted the script for “Angels & Demons,” and is experienced in adventure writing. He adapts the novel well, but there is a sense that everything unfolds too quickly, excessively hurried, with some conclusions reached too rapidly and simply. The use of ancient artworks as mere pretexts seems more forced in this installment compared to the previous two films where the story naturally flowed from well-known masterpieces.

The music, of course, is once again composed Hans Zimmer, who provides a much faster-paced score compared to “The Da Vinci Code” and “Angels & Demons,” while still maintaining the melodic foundation of both. The unmistakable main theme lingers in the background, creating a link among the three films. Zimmer’s accelerated music, with a tempo that raises our heart rates, allows us to share in the tension and urgency experienced .

Thus, in “Inferno,” we have a more than adequate product, a good puzzle that we must piece together alongside its characters, where sometimes things are not as they seem. However, I must say it is the weakest of the trilogy.

At this point, I would like to share my opinion as a prior reader of the book. There have been some changes made compared to the novel, as is often the case. Certain parts have been omitted, and some sequences simplified (such as while deciphering Dante’s map of hell; what happens here remains unclear). These adaptations are understandable for the sake of pacing. However, one change is too drastic (I won’t reveal what it is to avoid spoilers) and diminishes the intrigue of the story. In my view, this alteration was unnecessary, and the original plot from the novel would have worked perfectly. Why the change? Honestly, I don’t know. I trust that other readers familiar with the book who have seen the film will understand what I mean.

This leads me to another point regarding “prior knowledge.” Once again, the trailer—the infamous and troublesome trailer. The first one was well-done, but the second, which lasts about two and a half minutes, reveals too much of the film. Please, producers, do not create trailers that serve as walking spoilers! A trailer should excite audience curiosity, show just enough with disjointed images and sequences to leave viewers wanting more; it doesn’t need to summarize the film from beginning to end.

Despite the negatives I mentioned, the movie is quite enjoyable, and if you haven’t read the novel, you’ll likely appreciate it even more.

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