Tense and moody. Fincher's previous procedurals have certainly helped him here -- it's engaging and tense throughout it's long run-time. Mara and Craig are excellent, and the brilliant score provides the appropriate accents (when it isn't being a bit distracting). The somewhat unsatisfying climax and unfocused conclusion are overshadowed by the tautness cultivated in the rest of the film.
Loved it. I was skeptical going in, but I thought it may have been even better than the Swedish film. It does a much better job with the plot, especially in the last half hour or so. Rooney Mara somehow manages to create a distinct Lisbeth. It's amazing, since the character is now iconic. I didn't think about Noomi Rapace once during the film, although she is still Lisbeth in my mind's eye.
Great, so now i have to see the original again. I really don't know which one i like better. Of course the directing of Fincher is better probably, but I like the authenticity of the Swedish version. Great suspense thriller. Loved Mara and Graig is in his solid routine.
Another remake, done decently indeed (as one should always expect from Fincher), but this really felt unnecessary, since the original was only done a few years prior, and pretty much did the book justice anyhow.
Better in almost every aspect than the Swedish version - direction, soundtrack, pacing, villain and yes, Lisbeth Salander. The main problem is inherent in that the story itself just isn't as engrossing as say Seven or Zodiac. As someone with a background in the country it was nice to see it getting the Fincher treatment, also feeling somewhat qualified in saying those turning their noses up at this in favor of the original are basically wrong. Liked the subtle dig at IKEA's fascist past.
Though the film didn't actually feel overlong, with the beginning and (especially) the ending having something of a tacked-on quality to them, the biggest sin here seems to be sticking too closely to the source material . If this story is missing anything, the excellent performances of the actors, Fincher's great visual style, and Reznor's chilling score still shape this into something quite compelling for the big screen. (Score is probably 80 or 75 with a small chance of 70--need to see again)
Starting off with one of the worst credits sequences in recent memory, it only gets worse, with some of the shittiest editing I've ever seen - every scene is way too short, with a quick-fire pace to the dialogue that worked for The Social Network but fails dismally here. Craig is dull and Fincher is clearly just a director-for-hire, putting no passion in whatsoever. The score is great, and Mara's performance is brilliant and brave, but they're completely wasted. See the Swedish version instead.
Intense and gripping. The title sequence drew me in, and the film kept me intrigued even as it took the time to set up. But the time is well-spent; the character-based introduction and conclusion bookend a magnificent crime thriller that excites and horrifies as it unwinds the twisted plot. Featuring one of the best female characters I've seen in a while, this could quite possibly be Fincher's best work in over a decade.
Can't live up to its amazing trailer but still a solid movie and worth seeing. The acting is excellent as well with Daniel Craig giving easily his best performance to date. Rooney Mara is someone to watch as well. The ending is a let down and I thought it dragged at times. Has some tense moments that are aided by yet another great Trent Reznor score and it's Fincher so of course its directed impeccably. I think my score would go up with another viewing.
I was curious how well this would translate, given how much of the book was Blomkvist reading stuff, but Fincher & Zaillian did an excellent job. I liked Daniel Craig's subtlety, and Rooney Mara says so much with just her physicality.
This book sat on my shelf for months while I procrastinated on reading it for a multitude of irrelevant reasons, and for better or worse this film release beat me to it. The subject matter, as it ranges from brutal to intriguing to tense, is tailor made for Fincher. It's one of those movies you know is going to be good, probably great. You just know. You know as soon as it's announced. They'd have to try to make this suck. It doesn't suck. It's great. There's just too much hype for these books.
As a whodunit it's murky, with too many narratives running at once with only passing relation, as well as a third act so extended one might be inclined to call it the rarely seen fourth act, but as a mood piece it works great: Fincher, with sickly yellows and rich browns, brings us a dark film about "men who hate women", with intriguing characters, shockingly good opening titles, and a strange propensity for having at least one nipple (man or woman) in the shot. Score is not a grade. Nipple.
Like Fincher's Zodiac, this just didn't draw me in. I found the Swedish version to be superior, with its delicate balance between subtleness and rawness, and the deeper exploration of Liz's background -- in particular, I thought the 'new guardian' subplot was dealt with much better in the Swedish version. Craig is charming enough and Mara gives a great performance, but the chemistry between them was lacking.