---
title: "The Da Vinci Code"
year: 2006
kind: "film"
canonical: "https://film.one/film/the-da-vinci-code"
fi1m_id: "the-da-vinci-code"
imdb_id: "tt0382625"
tmdb_id: 591
wikidata_id: "Q160560"
fi1m_score: 42
critics_score: 47
critics_reviews: 12
published: "2026-10-05T04:10:39.003928+00:00"
updated: "2026-10-05T04:10:44.274278+00:00"
region: "PH"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Da Vinci Code (2006)

Directed by Ron Howard · 2h 29m · Thriller, Mystery

## Identity

The Da Vinci Code

- **Canonical:** https://film.one/film/the-da-vinci-code
- **Type:** Film
- **Fi1m ID:** the-da-vinci-code
- **IMDb ID:** tt0382625
- **TMDB ID:** 591
- **Wikidata ID:** Q160560
- **Same entity:** https://www.imdb.com/title/tt0382625/, https://www.themoviedb.org/movie/591, https://www.wikidata.org/wiki/Q160560

**Fi1m score: 42** · Critics 47 from 12 reviews

*In a sentence:* Tom Hanks listens so carefully that we began to worry there would be a test

> Ron Howard gives Dan Brown’s mystery a solemn, talk-heavy treatment that leaves little room for suspense. Ian McKellen supplies some welcome life, but the explanations exhaust our interest long before the film ends.

## Synopsis

Robert Langdon (Tom Hanks) and Sophie Neveu (Audrey Tautou) are the central characters in this mystery thriller, which also features Sir Leigh Teabing (Ian McKellen). Jean Reno plays Captain Bezu Fache, Paul Bettany plays Silas, and Alfred Molina plays Bishop Manuel Aringarosa. Ron Howard directs this adaptation of Dan Brown’s novel, from a screenplay by Akiva Goldsman. The supporting cast includes Jürgen Prochnow as André Vernet and Jean-Pierre Marielle as Jacques Saunière. The film runs for 149 minutes and carries a 12A certificate.

## Review

Ron Howard’s *The Da Vinci Code* is a poor thriller, too occupied with explaining its mystery to make us care about solving it. Adapting a Dan Brown novel, the director takes a sober approach to material that needs some pleasure in its own complications. There is a reasonable wish here to make the story comprehensible and to treat its audience seriously. But Akiva Goldsman’s screenplay keeps stopping to explain, and the explanations become the evening’s principal activity. At 149 minutes, that is a considerable commitment.

Tom Hanks plays Robert Langdon with a restraint that leaves little for us to engage with. He is so often responding to information that the performance begins to seem passive even when the story requires urgency. Audrey Tautou does better as Sophie Neveu, bringing a conviction that suggests the situation matters to somebody. Yet her energy cannot make the central partnership compelling when so much of their business consists of receiving or delivering information.

We were bored, and the steady succession of explanations was the reason. A mystery can be talkative and still move if each conversation changes our view of the people having it. Here, we are mostly waiting for the next piece of information, without much curiosity about the person supplying it. The dialogue gives the actors plenty to communicate and few chances to surprise us. After a while, the prospect of understanding more is not much of an incentive to keep listening.

Ian McKellen, as Sir Leigh Teabing, provides some welcome relief. He brings enjoyment to the talking, varying its pace and emphasis enough to make the delivery itself worth attending to. We perked up when he appeared; his willingness to have some fun exposes how dutiful the surrounding performances are. Jean Reno gives Captain Bezu Fache a useful firmness, though neither supporting performance can supply the momentum missing elsewhere.

Salvatore Totino’s cinematography does not make the action easy enough to follow, and the muddled staging denies it much excitement. A thriller needs us to understand danger quickly, particularly when the dialogue has already demanded so much concentration. Allan Cameron’s production design has little opportunity to make an impression while the film keeps our attention fixed on spoken explanations. We have time to listen to the characters, but little reason to look around them.

Editors Daniel P. Hanley and Mike Hill face a screenplay whose pauses for instruction are built into its progress. The cutting cannot disguise that repeated stop and start, and the action does not provide a convincing release from it. Hans Zimmer’s score cannot make the lengthy explanations feel urgent, however much weight the music gives them. More room for the performers to play off one another would have helped, especially with a cast capable of making a conversation interesting.

The sober approach will suit anyone chiefly interested in seeing Dan Brown’s story treated with respect. We can understand that attraction, and the adaptation’s care is preferable to contempt for the material. But judged as a mystery thriller, it rarely creates enough suspense to justify the time spent laying everything out. We would leave this one to readers who prize faithfulness above pace.

*Fi1m score 42, published 5 October 2026.*

## What the critics say

The consensus leans towards disappointment, with the reviews split between mixed and negative assessments. Most critics find the adaptation too dependent on explanation, leaving little space for character or suspense. Praise clusters around the supporting performances, particularly Ian McKellen, whose liveliness offers some relief from the solemnity. There is also appreciation for Audrey Tautou’s urgency, though the leads receive less consistent support than the supporting cast.

The main disagreement is over whether fidelity to the novel compensates for the slow, talk-heavy storytelling. Radio Times sees a sober, comprehensive adaptation that should satisfy the book’s fans; less persuaded critics find that same approach inert and overlong. Assessments range from qualified enjoyment to emphatic rejection, with reservations about Tom Hanks’s passivity and the handling of action. Den of Geek offers a more favourable assessment of the extended cut, judging it a substantial improvement over the theatrical version rather than an outstanding thriller.

## Straight answers

**Is The Da Vinci Code worth watching?**

*The Da Vinci Code* is difficult to recommend as a thriller; we score it 42 out of 100 for its slow pace and shortage of suspense. Ian McKellen brings welcome life to the dialogue, but the solemn, explanation-heavy treatment chiefly suits readers keen to see Dan Brown’s story treated respectfully.

**How long is The Da Vinci Code, and what is it rated?**

*The Da Vinci Code* runs 2h 29m. It is a thriller and mystery film.

**Where can I watch The Da Vinci Code in the Philippines?**

*The Da Vinci Code* is available to rent from Apple TV from ₱149.00. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is The Da Vinci Code, and is it suitable for children?**

*The Da Vinci Code* carries a UK 12A certificate, so it is not an unrestricted choice for children: under-12s need an accompanying adult at the cinema. The certificate warrants parental judgement but does not by itself specify how violent or frightening it is; our review finds the lengthy explanations more exhausting than suspenseful.

**How does The Da Vinci Code compare to The Name of the Rose?**

*The Da Vinci Code* is the weaker choice beside [*The Name of the Rose*](https://film.one/film/the-name-of-the-rose), which we recommend for patient mystery lovers who want engaging people as well as ideas. The medieval investigation sometimes drags, but Sean Connery’s warmth and the persuasive abbey setting offer more reward than the repeated explanations in Ron Howard’s film.

**Is The Da Vinci Code based on a true story or a book?**

*The Da Vinci Code* is adapted from Dan Brown’s novel, rather than presented as a true-story account, with a screenplay by Akiva Goldsman. We find its treatment respectful but overburdened with explanations, so prior knowledge of the book is not needed to follow the mystery, though devoted readers may appreciate the sober approach more.

**What should I watch after The Da Vinci Code?**

After *The Da Vinci Code*, try [*The Name of the Rose*](https://film.one/film/the-name-of-the-rose) (1986, Fi1m 77): A learned murder mystery that gives its arguments people worth following. Then [*The Lady Vanishes*](https://film.one/film/the-lady-vanishes) (1938, Fi1m 88): A conspiracy mystery that remembers how much suspense depends on enjoying the company; and [*The Secret in Their Eyes*](https://film.one/film/the-secret-in-their-eyes) (2009, Fi1m 78): An investigation whose emotional consequences matter as much as the answer.

### Reviews we read (12)

- **Screen Daily**, Mike Goodridge (64/100, inferred): The review’s verdict is unavailable because the article text is behind a paywall. The visible page does not reveal what the critic praised or criticized. [Read](https://www.screendaily.com/the-da-vinci-code/4027223.article)
- **The New York Times** (64/100, inferred): The page content is inaccessible, so the critic’s verdict cannot be determined. No specific praise or complaint is visible. [Read](https://www.nytimes.com/2006/05/21/movies/22davincicnd.html)
- **RogerEbert.com**, Roger Ebert (2.5/4): Ebert finds the film entertaining but weighed down by its talk-heavy storytelling. He singles out the constant exposition as a drawback. [Read](https://www.rogerebert.com/reviews/the-da-vinci-code-2006)
- **Radio Times**, Karen Krizanovich (3/5): Krizanovich says fans of the novel will not be disappointed by the adaptation. She praises its sober, all-encompassing approach and Howard’s direction. [Read](https://www.radiotimes.com/movie-guide/b-j2rikl/the-da-vinci-code/)
- **Slant Magazine**, Nick Schager (3/5): Schager finds the film leaden, incompetent, and unintentionally humorous. He especially criticizes Tom Hanks’s blank performance and the film’s clumsy camerawork. [Read](https://www.slantmagazine.com/dvd/the-da-vinci-code-dvd/)
- **Los Angeles Times**, Kenneth Turan (40/100, inferred): Turan finds the adaptation competent but constrained by its cautious, franchise-protecting approach, and only occasionally thrilling. He praises Audrey Tautou’s urgent, convincing performance as Sophie, while criticizing Tom Hanks as too reactive for Langdon. [Read](https://www.latimes.com/archives/la-xpm-2006-may-18-et-davincireview18-story.html)
- **Time Out**, Trevor Johnston (30/100, inferred): The critic suggests the film will mainly appeal to viewers who insist on a faithful adaptation. The complaint is that Brown’s novel has been reduced to talking pictures. [Read](https://www.timeout.com/movies/the-da-vinci-code-1)
- **Empire**, Ian Freer (15/100, inferred): Freer finds the film inert and dreary, with exposition overwhelming character and momentum. He singles out Ian McKellen’s lively performance as a rare boost, while criticizing the leads’ lack of engagement and the muddled action. [Read](https://www.empireonline.com/movies/reviews/da-vinci-code-review/)
- **Den of Geek**, Glen Chapman (3/5): Chapman finds the extended Blu-ray cut a decent, though not outstanding, thriller and a major improvement over the theatrical version. He praises the Blu-ray transfer and highlights the supporting cast, especially Jean Reno. [Read](https://www.denofgeek.com/movies/the-da-vinci-code-blu-ray-review/)
- **The Skinny**, Paul Gallagher (★★): The review finds the adaptation cold, lifeless and unlikely to endure in film history. It praises Ian McKellen as the only cast member to bring any fun to the proceedings. [Read](https://www.theskinny.co.uk/film/new-releases/the-da-vinci-code)
- **Eye for Film**, Chris (35/100, inferred): The critic finds the film forgettable and over-hyped, with a weak central premise. They credit it with prompting questions about Christian history and praise the photography of Roslyn Chapel. [Read](https://www.eyeforfilm.co.uk/review/the-da-vinci-code-film-review-by-chris)
- **Digital Spy**, Daniel Saney (30/100, inferred): The review finds the adaptation disappointing, especially for viewers who have not read the book. It praises Ian McKellen’s performance but criticizes the film’s slavish, overlong reproduction of the novel. [Read](https://www.digitalspy.com/movies/a33191/the-da-vinci-code/)

## Details

- **Director:** Ron Howard
- **Director:** Ron Howard
- **Screenplay:** Akiva Goldsman
- **Novel:** Dan Brown
- **Cinematography:** Salvatore Totino
- **Editor:** Mike Hill, Daniel P. Hanley
- **Music:** Hans Zimmer
- **Production design:** Allan Cameron
- **Costume design:** Daniel Orlandi
- **Producer:** Brian Grazer, Ron Howard, John Calley
- **Cast:** Tom Hanks as Robert Langdon; Audrey Tautou as Sophie Neveu; Ian McKellen as Sir Leigh Teabing; Jean Reno as Captain Bezu Fache; Paul Bettany as Silas; Alfred Molina as Bishop Manuel Aringarosa; Jürgen Prochnow as André Vernet; Jean-Yves Berteloot as Rémy Jean
- **Runtime:** 2h 29m
- **Release (the Philippines):** 17 May 2006
- **Genres:** Thriller, Mystery
- **Budget:** $125 million
- **Box office:** $760 million

## Where to watch in the Philippines

- Apple TV: rent ₱149.00, hd
- Apple TV: buy ₱449.00, sd

*Checked 2026-10-05.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, HK, HR, HU, ID, IE, IL, IN, IT, JP, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, SI, TH, TR, US, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *The Name of the Rose* (1986), Fi1m 77: A learned murder mystery that gives its arguments people worth following. — [Fi1m page](https://film.one/film/the-name-of-the-rose.md)
- *The Ninth Gate* (1999): Another scholarly investigation, with enough unease to make the research feel dangerous.
- *The Lady Vanishes* (1938), Fi1m 88: A conspiracy mystery that remembers how much suspense depends on enjoying the company. — [Fi1m page](https://film.one/film/the-lady-vanishes.md)
- *The Secret in Their Eyes* (2009), Fi1m 78: An investigation whose emotional consequences matter as much as the answer. — [Fi1m page](https://film.one/film/the-secret-in-their-eyes.md)
- *National Treasure* (2004), Fi1m 52: Historical clues and elaborate deductions, approached with a welcome sense of fun. — [Fi1m page](https://film.one/film/national-treasure.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-da-vinci-code