E o filme mais esperado do ano, adaptado do maior best-seller dos tempos modernos, foi recebido assim pela crítica:
— Todd McCarthy, Variety:
"Part of the quick deflation is due to a palpable lack of chemistry between Hanks and Tautou, an odd thing in itself given their genial accessibility in many previous roles. Howard, normally a generous director of actors, makes them both look stiff, pasty and inexpressive in material that provides them little opportunity to express basic human nature; unlike in the book, they are never allowed to even suggest their fatigue after a full night and day of non-stop running, nor to say anything that doesn't relate directly to narrative forward movement. It's a film so overloaded with plot that there's no room for anything else, from emotion to stylistic grace notes."
— Edward Douglas, Comingsoon.net:
"It's just not that the movie is way too long and duller than watching Da Vinci's paint dry, but it takes away any of the book's little credibility and makes the flaws in it that much more obvious." [...]"It wouldn't be so bad if the film were cinematically interesting, but it lacks the style of other recent films, including most of Ron Howard's."
— Matt Pais, Metromix.com:
"For people who insist that the movie is never as good as the book, your case just got stronger."
— A.O. Scott, New York Times:
"«The Da Vinci Code», which opened the Cannes Film Festival on Wednesday, is one of the few screen versions of a book that may take longer to watch than to read."
Apesar de toda esta "maldicência", os críticos têm sido unânimes num aspecto, o qual poderá bem ser o melhor da versão cinematográfica de O CÓDIGO DA VINCI: a interpretação de Ian McKellen, sem dúvida aquele que melhor apreendeu o que é, do princípio ao fim, a narrativa de Dan Brown: um excelente thriller.
Agora, só falta mesmo ir ver o filme, que estreia hoje e em 76 salas do país.
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