Angels & Demons 2009 123movies

Watch: Angels & Demons 2009 123movies, Full Movie Online – Following the murder of a physicist, Father Silvano Bentivoglio, a symbolist, Robert Langdon, and a scientist, Vittoria Vetra, are on an adventure involving a secret brotherhood, the Illuminati. Clues lead them all around the Vatican, including the four altars of science, Earth, Air, Fire and Water. An assassin, working for the Illuminati, has captured four cardinals, and murders each, painfully. Robert and Vittoria also are searching for a new very destructive weapon that could kill millions..
Plot: Harvard symbologist Robert Langdon is recruited by the Vatican to investigate the apparent return of the Illuminati – a secret, underground organization – after four cardinals are kidnapped on the night of the papal conclave.
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Ratings:

	6.7/10 Votes: 294,366
	37% | RottenTomatoes
	48/100 | MetaCritic
	N/A Votes: 6022 Popularity: 39.776 | TMDB

Reviews:

Book>Movie
I read Angels and Demons about 3 years ago, and I can honestly say to is one of the few books that I couldn’t put down while reading.

The movie however was pretty much what i expected, a lot of action, with somewhat of a mystery storyline. Tom Hanks plays, in my opinion, a much better role, of Professor Langdon than in The Da Vinci Code.

You won’t have to worry about this being as bad as The Da Vinci Code, this is everything that it wasn’t. Much more interesting, more action, more suspense, and less of the unneeded controversy. If you haven’t read the book, no worries you will still find it very interesting. And if you have read the book, well lets say you might be a little let down because I found many scenes missing that I was looking forward to.

Overall, Pretty impressive film for any everyday movie goer. But, maybe not something too special for Dan Brown fans.

“Open the doors, and tell the world the truth”
Robert Langdon is back and better than ever – and, by better, I mean that he finally got himself a haircut. In 2006, Ron Howard’s ‘The Da Vinci Code’ was released amid a storm of controversy, snagged $750 million at the box-office, and suffered a crucifixion at the hands of critics worldwide. I remember the film well because it inspired me for the first time to discuss, at length, a film’s merits – I was, for better or worse, Howard’s most ardent defender. Howard’s follow-up ‘Angels and Demons’ (adapted as a sequel) opened with only a polite smattering of debate, and is all the better for it. Now both films can comfortably be enjoyed for exactly what they are – entertaining pulp thrillers, replete with exotic locations, beautiful women, brutal murders, ancient conspiracies, treasure hunts, and a race against time. Owing to the source novel’s more limited reputation, ‘Angels and Demons’ lacks the bloated self-importance, whether conscious or not, of its predecessor, and so can be enjoyed, without reservation, as a fanciful, unpretentious two-hour page-turner.

Screenwriters David Koepp and Akiva Goldsman have shorn the majority of Dan Brown’s ludicrous plot twists – most fortunately a parachute- substitute that would have sent audience eyes rolling – but, even so, the film remains thematically inconsistent, a flaw that extends back to the source material. When Brown originally published “Angels and Demons” in 2000, he was at the cross-roads of a transition in his writing style. “Digital Fortress” and “Deception Point” were pretty straightforward conspiracy thrillers, with government organisations using ultra-modern technology to perpetrate their crimes and threaten the truth-seeking heroine. By “The Da Vinci Code (2003),” all elements of science-fiction had been discarded in favour of historical documents and religious iconography. But “Angels and Demons” finds itself stranded in the middle of this conversion, labouring extensively over fictional antimatter explosions when a simple bomb would have done just nicely. This juxtaposition of history and technology may well have been intentional, used to emphasise the conflict of science and religion, but there is nonetheless an imbalance of tone that jars violently with the viewer.

Tom Hanks reprises his role as Harvard “symbologist” Dr. Robert Langdon, and his performance is an improvement. Rather than existing purely as a cypher of ancient symbols, Langdon seems to have developed a fuller persona, though there’s some awkward, sitting-on-the-fence attempts at defining his stance on religion. The supporting players – Ewan McGregor, Aylet Zurer, Stellan Skarsgård, Pierfrancesco Favino – are dependable without attempting to steal the limelight, as Ian McKellen did so successfully in ‘The Da Vinci Code.’ Only Nikolaj Lie Kaas, as the Illuminati assassin, doesn’t quite feel the part, lacking the ghostly creepiness of Paul Bettany in the equivalent role. Salvatore Totino’s cinematography isn’t the most handsome you’ll see this year, but nevertheless captures the art and architecture of Rome and the Vatican (whether real or recreated) with stunning vibrancy. Hans Zimmer’s score is energetic and emphatic at the right moments, not only underscoring events in the film but forcefully stamping their significance. All flaws aside, I can certainly see future generations enjoying ‘Angels and Demons’ for its preposterous sense of fun.

Other Information:

Original Language en
Runtime 2 hr 18 min (138 min), 2 hr 26 min (146 min) (extended edition)
Budget 150000000
Revenue 485930816
Status Released
Rated PG-13
Genre Action, Mystery, Thriller
Director Ron Howard
Writer David Koepp, Akiva Goldsman, Dan Brown
Actors Tom Hanks, Ewan McGregor, Ayelet Zurer
Country United States, Italy
Awards 1 win & 5 nominations
Production Company N/A
Website N/A

Technical Information:

Sound Mix SDDS, Dolby Digital, DTS, Dolby Atmos
Aspect Ratio 2.39 : 1
Camera Arricam LT, Cooke S4 Lenses, Arricam ST, Cooke S4 Lenses, Arriflex 235, Cooke S4 Lenses, Arriflex 435 Advanced, Cooke S4 Lenses, Red One Camera, Cooke S4 Lenses (green screen plates)
Laboratory DeLuxe, Hollywood (CA), USA (prints), EFILM Digital Laboratories, Hollywood (CA), USA (digital intermediate)
Film Length 3,623 m (Portugal, 35 mm), 3,710 m (Spain), 3,783 m (Sweden)
Negative Format 35 mm (Kodak Vision2 100T 5212, Vision2 200T 5217, Vision3 500T 5219)
Cinematographic Process Digital Intermediate (4K) (master format), Redcode RAW (source format) (green screen plates), Super 35 (source format)
Printed Film Format 35 mm (anamorphic) (Kodak Vision 2383), D-Cinema