When Stieg Larsson died in 2004, he left us all hanging on the intended fate of Lisbeth Salander. His first three books weren’t the entire journey he’d envisioned. His fourth book will never see the light of day due to legal stupidity and family greed. And the final six lived only in his head. However, his remaining legal family licensed out the characters and commissioned more books, starting with The Girl in the Spider’s Web. I refused to support the ongoing book series, but I couldn’t resist checking out the movie. I wish I had.
Despite some real effort on the part of Claire Foy (First Man), this is a hollow movie with no heart at the core. The gap is in the plot and the script, which assume you know the previous stories (and are willing to forget parts of it as well). The story also veers radically from the central drives for Salandar and her relationships in the world.
This is most notable with Sverrir Gudnason (The Circle), who does a fine job of acting, but he isn’t Blomkvist. He’s far to young and pretty. And he has no emotional thread to grasp; though one is indicated in the script, the story isn’t there. He is a complicated man with complicated relationships, not just a foil or convenience with which to move the plot. Even the usually entertaining hacker Plague, Cameron Britton (Mindhunter), was somewhat flat in this story.
Three new characters were introduced into the series. Stephen Merchant (Logan) probably had the most levels to play with because the writers had to give him a story; we knew nothing about him from the beginning and it is his actions that start the plot. On the other hand Lakeith Stanfield (Sorry to Bother You) is OK, but sort of cookie-cutter American NSA from a European point of view. The writers assumed actions would obviate the need for character on his part. They were wrong.
More surprising was the lack of a character for Sylvia Hoeks (Blade Runner 2049) playing Lisbeth’s sister. Forgetting how this and the rest of the revised/ignored backstory affects the series canon, there were rich possibilities for this woman, none of which were plumbed.
Director and co-writer Fede Alvarez (Don’t Breathe) did a beautiful visual job with the film. He also managed to capture the Swedish emotional sense with a lot of the characters. But he failed to recognize the weaknesses in the script and fight for better. And he allowed cliche to triumph over effort by some of his cast.
So the core issues of this come back to the script by writers Steven Knight (November Criminals) and Jay Basu. It feels like they took a passing knowledge of the books and decided to take those characters and throw them into a standard story. There is a small nod to the core of Salander’s, saving women or reacting to injustice, but that is simply there as a short grace note before dropping her into a Bond-like story that just isn’t a good fit and doesn’t further her purpose. However, and in some ways worse, some of the law enforcement research is awful, making the Swedish police and secret service into idiots.
So, to sum up, this is a somewhat mediocre action film and a very poor continuation of the Millennium series. Foy does a game job capturing the character, but never really gets to emotionally explore or expand her. As a stand-alone flick, without any knowledge of the base tale, you’d be watching a rather empty action movie with some clever bits to it. And there are some good moments and aspects, but this could have been a triumph, especially in the current climate. I’ll leave it to you whether or not to spend you time with it.