Despite all the hype, the court cases and bad reviews from critics at Cannes, the public turned out in droves for the movie adaptation of Dan Brown's "The Da Vinci Code."

There's been a murder at the Louvre in Paris. The museum's director Jacques Sauniere (Jean-Pierre Marielle) was murdered, but that's not the oddity of his death. His body is found sprawled out in the middle of the main gallery with hints as to his killer, or to something more, written in his blood and black-light ink.

The message leads the police to Robert Langdon (Tom Hanks), a religious symbology expert. However, the police believe him to be the one and only suspect in the mysterious murder.

Sophie Neveu (Audrey Tautou) comes to Langdon's rescue to discover what Sauniere was trying to convey in his dying moments. She knows there is something more to his note than implications that Langdon was his murderer; she was his granddaughter after all.

Sauniere passed on code for Neveu and Langdon to decipher. They start on a quest that leads them to more murders and into a war that's been raging for centuries; one that even religions are based upon.

They learn that Sauniere was a part of a secret religious society that was protecting something the world knows as the Holy Grail. Now it's their duty to find out what the Grail is and either unleash it on the world or keep it secret.

The two enlist the help of an expert on these secret societies, Sir Leigh Teabing (Ian McKellen). The further Neveu and Langdon go, the more dangerous the situations become, as they outrun not only the police, but also the church.

Director Ron Howard faced the arduous task of bringing this intricate tale to the big screen. Despite the buzz, he did the best he could. Turning a best-selling novel into a movie is no simple task; ask the many directors that tried it before him.

Books are to be savored, allowing people to proceed at their own pace. Movies entertain in a set amount of time and emphasize what the movie's creators decide to emphasize.

Frankly, Howard got bogged down enough by expectations. He got into the meat of "The Da Vinci Code" and he stayed incredibly true to Brown's words. But while trying to cram as much of the twists of "Da Vinci" into the movie, he also tried to bring in even more, throwing off the pacing.

However, there are good things that came about from "The Da Vinci Code."

The world was introduced to Tautou (best known from French flick "Amelie") in an English-speaking role (although she also spoke English in "Dirty Pretty Things," which most "Da Vinci" viewers won't likely have seen). There were only two French actresses that have the star power in the U.S. to carry a role alongside Hanks, Tautou or Juliette Binoche. Tautou was the perfect choice.

Paul Bettany took on the role of the tortured, white-as-a-ghost monk killing for what he believes is a cause. Scenes where he chastises himself are hard to watch, but he perfectly conveys the hurt and anguish his character feels.

"The Da Vinci Code" cinematography also takes center stage. There are times when shadows of the past mix with the present day. The characters walk among these shadows, reliving what they went through. The sweeping scenic shots are also breathtaking, enough to make anyone want to visit the locations.

This is a movie that without a doubt polarizes audiences. It's one that many from different religions can find, or have found, offensive. Although, rating a movie as to ones beliefs isn't really fair.

One thing "The Da Vinci Code" should signify is fact that it's time for Hollywood to create something original rather than recreating -- reinventing -- books and old television shows.

In the end, it's a better choice to pick up and read "The Da Vinci Code" rather than see it on the big screen.