All the while, its rollout suggested it had aspirations to be an awards contender.
It was an adaptation of the biggest literary phenomenon of the decade not starring Harry Potter, and it was arriving in cinemas with the kind of media frenzy usually reserved for Star Wars. When Ron Howard’s The Da Vinci Code took the world by storm in 2006, I was far from being a professional critic, but I could still be highly critical of something like this.
