SummaryComputer hacker Lisbeth Salander and journalist Mikael Blomkvist find themselves caught in a web of spies, cybercriminals and corrupt government officials.
SummaryComputer hacker Lisbeth Salander and journalist Mikael Blomkvist find themselves caught in a web of spies, cybercriminals and corrupt government officials.
Not simply a worthy addition to David Fincher’s vastly under-appreciated "The Girl with the Dragon Tattoo" franchise (they’re calling it a “soft reboot,” but there’s nothing soft about it), The Girl in the Spider’s Web is also a top-shelf Batman movie. For good measure, it kicks the butt of the last few Bourne installments too.
“Spider’s Web” may have its flaws, including a bit of villainous motivation so oversimplified it makes Dr. Evil’s thought processes look like Einstein’s. And yet despite Lisbeth’s makeover, there’s still something cool, complicated and compelling about this “Girl.” Lisbeth may be stuck in a silly movie, but she’s nobody’s victim.
Authentic, gripping, fast paced and impressive. A very worthy addition to the GWTDT series. A kind of james bond meets tomb raider vibe, with fairly savage violence and edge of the seat escapes. Have to say I loved it from beginning to end. Apart from a continuity issue with the bathwater I couldn't fault it.
Who might be interested in this movie? Fans of the original Stig Larsson trilogy, who are not afraid to be disappointed in their expectations from its continuation. Lovers of beautiful, atmospheric cinema, not burdened with logic and meaning. To fans of plain detective stories and spy series of the 60s, with linear plots and the absence of any intrigue. The only thing that caught my attention was the topic of cybercrime, but even here everything is very weak. For a long time there are a bunch of applications like Utopia P2P, which are generally unrealistic to crack.
Lisbeth is never going to be cuddly or sunny, but that doesn’t mean she has to be robotic or impossible to read. That’s something that Foy and Alvarez clearly understand, and the result is a heroine not only worth cheering for, but one worth loving and even understanding.
This glum crime franchise, unfolding against a backdrop of blighted concrete chill and semi-derelict industrial spaces, is evolving into Scandinavia’s anti-hygge.
The worst thing about The Girl in the Spider’s Web — the element likely to enrage most fans of the franchise — is how it betrays its central character by eradicating almost every aspect that made her so initially fascinating.
The stars were misaligned from the start for this frantic, turgid thriller. That’s no knock on Ms. Foy, who might have surprised us if she’d had a different director working from a different script under a different set of studio imperatives that didn’t involve extracting blood from a very cold stone.
I love Lisbeth salander! She is extremely smart, resourceful and mentally and physically strong. In this latest installment of the franchise, she must stay on her toes in order to stay alive and keep those she cares about from harm. Some of her feats are a bit hard to believe. The timing of a couple of her rescues and all the pieces that ust fall into place are not wholly believable. But, if you like strong women characters and fast paced action, this is a great film for you. I enjoyed it and was completely entertained.
This is a surprisingly bad movie. It seems as if the writer, the director and the actors had no interest at all in making this movie. The casting is terrible, only some of the minor characters are really fine like Cameron Britton as Plague or LaKeith Stanfield as Needham. The writer(s) did not simplify the book by Larsson, which certainly would have been necessary, but completely rewrote it, dumbing it down into a caricature of an action movie in the process. While it is a strength of the books and of the other movies based on them, to embed the plot in a tight web of well-conceived characters and (sometimes) plausible depicted institutions, here all is reduced to stereotypes taken from other US-American B-movies.
Dans ce (déjà !) 5ème Millénium, Claire Foy a remplacé Rooney Mara qui avait remplacé Noomi Rapace... mais les deux remplaçantes s'en sortent fort bien, ce qui n'est pas le cas du remplaçant du journaliste dont le rôle est ici bien pâlot et quasiment accessoire.
C'est que de toute façon, ce Millénium a pris une toute autre direction, à l'opposé de ce qui en faisait son originalité... le seul point commun désormais avec les films précédents est le suivant : ça se passe en Suède. Et c'est tout.
Pour le reste, il s'agit d'un mélange de conneries très hollywoodiennes directement inspirées des conneries de Clancy ou de ces conneries de bourneries : on mélange là-dedans des gadgets (c'est-à-dire Splinter Cell avec un brin de Watch Dogs pour faire bonne mesure -au point où on en est !) et des missiles nucléaires sur le départ (ils se font chier dans la salle d'attente, si quelqu'un pouvait s'en occuper... ou les recevoir... ah non, pas les recevoir !).
Comme Jack Ryan n'en a Ryan à fout' et que Jason Bourne est une burne, c'est notre féministe justicière Lizbeth qui s'y colle. Elle pirate les ascenseurs, les voitures, les aéroports et tout le toutim et si les vilains sont apparemment une vieille histoire familiale, c'est à l'insu de son plein gré et de son ignorance.
En tout cas, on ne s'ennuie pas et tout ce merdier est rondement mené (avec le gamin autiste aussi, c'est évidemment un cliché ambulant obligatoire de nos jours). La réalisation est dans l'ensemble correcte sauf...dans les combats au corps-à-corps où c'est n'importe quoi. Et on rigole de temps en temps devant ce tissu de conneries très épais... mais on rit surtout jaune en fait. Millénium, ça ? cette blague...
Production Company
Columbia Pictures,
Metro-Goldwyn-Mayer (MGM),
New Regency Productions,
Scott Rudin Productions,
Yellow Bird,
Pascal Pictures,
The Cantillon Company,
Studio Babelsberg,
Film Service Babelsberg,
Deutscher Filmförderfonds (DFFF),
MFG Film,
Medienboard Berlin-Brandenburg,
Mitteldeutsche Medienförderung (MDM),
Hessen Film & Medien,
Schleswig-Holstein Film Commission