Review: Tom Hanks returns as Robert Langdon in 'Inferno'

"Inferno" is the third Robert Langdon film, with Tom Hanks reprising the role of the Harvard "symbology" professor whose parlor trick is solving elaborate criminal plots by deciphering great works of art.

The filmmakers have skipped one book in the series, perhaps wisely since Brown's "The Lost Symbol" enlists Freemasons as its conspiracy-du-jour, following escapades with the Catholic church and self-flagellating albino monks in "The Da Vinci Code" and the Illuminati in "Angels & Demons."

The film begins with him waking up in a Florence hospital, his recent memory wiped clean by a head wound and his mind haunted by apocalyptic visions.

When a pursuer turns up and starts shooting, Langdon and the doctor on hand, Sienna Brooks (Felicity Jones), flee and begin piecing together Zobrist's plot, one concocted with heavy shades of Dante and Botticelli's Map of Hell painting.

Inferno," a Columbia Pictures release, is rated PG-13 by the Motion Picture Association of America for "sequences of action and violence, disturbing images, some language, thematic elements and brief sensuality.