Frans Balder, fired from the National Security Agency, recruits hacker Lisbeth Salander to steal FireWall, a computer program that can access nuclear weapons codes around the world. The download soon attracts the attention of an NSA agent who tracks the activity to Stockholm. Other problems arise when Russian thugs take Lisbeth’s laptop and kidnap a math whiz that can make FireWall work. Now, Lisbeth and an unlikely ally must compete against time to save the child and recover the codes to avoid disaster.
Initial release: November 9, 2018 (USA)
Director: Fede Alvarez
Film cycles: Milenio
Producers: Sony Pictures, Columbia Pictures, Metro-Goldwyn-Mayer, Yellow Bird, Pascal Pictures
Screenplay: Fede Alvarez, Steven Knight
“It’s a fast-moving thriller about nuclear launch codes, and there’s almost no time for little luxuries like the development of characters and themes.”
In contrast, Variety writer Jay Weissberg wrote: “It was probably inevitable that Hollywood neutralize the best elements of Stieg Larsson’s” Millennium “franchise, but did the producers really have to make it a common cross between a superhero movie and James? Bond? “
Tim Grierson, of Screen International, wrote: “Claire Foy proves to be a perfectly respectable Lisbeth Salander, but just like the” Spider Web “itself, the elaborate effort is hardly worth it.”
Praising Foy, Demetrios Matheou of The Times wrote: “Here Foy perfectly captures the monosyllabic repression of Salander, as well as the senseless physicist, the faithful Taser at his side.”
The Girl in the Spider Web will be released in theaters on November 21, 2018.
Since 2009, three actresses have played Lisbeth Salander, the iconic hacker heroine of Sweden, with a dragon tattoo and a Mohawk. The last one is Claire Foy, winner of the Golden Globe for playing Queen Elizabeth II in The Crown. The two are not close to the same world and yet, Foy proves that she is prepared for the motorcycle and scars hero that can attack almost anything.
Unfortunately, his rigid and intelligent world is now a silly Bond-style action movie.
The Girl in the Spider’s Web is Salander’s fifth film that includes the three Swedish television movies starring Noomi Rapace and David Fincher’s The Girl with the Dragon Tattoo of 2011, which shot Rooney Mara to Oscar stardom. It is based on the fourth novel in the Millennium series by Stieg Larsson, written by David Lagercrantz after Larsson’s death.
But unlike the careful conspiracy of the previous films, director Fede Álvarez points to great explosions, rapid car chases and plots that involve, sigh, nuclear warhead codes. With a hacker character like Salander, the emphasis on technology is present everywhere, but it’s technology that works like magic. Salander can hack a car in the middle of the chase and leave personalized and rude business cards. It’s sarcastic and funny, but this is not the Salander we knew.
- A rainy Stockholm envelops Salander as we follow her through familiar territory, strolling through the underground club scene in Sweden, having casual relationships with women and having a pet lizard. That’s all, while she is not moonlight as a kind of Batwoman, heavy eye makeup and images of wings to boot, targeting male batterers of women and plundering her vast bank accounts.
- She is enlisted by Stephen Merchant as a former US agent. UU Who managed to help the US UU To access the nuclear warheads of the world. Salander’s task is to save the day by downloading the encrypted program known as Firefall, and making sure no one deciphers it.
It is said that the bad guys known as The Spiders persecute her and the Swedish government officials who like to joke with their detainees using Swedish tourist guides. Reveal the bad guys with white eyebrows and facial masks, an uncomfortable combination of pantomime, action thriller and heavy themes: issues of sexual abuse and torture that are mentioned, and then left alone.
- There is an intriguing aspect to Salander’s personal connection with the bad guys, which reveals something about his past and why he is the way he is. But that is quickly on the way, so Salander can easily outsmart his opponents using a combination of technological magic and lucky coincidence.
The journalist of Salander, more than friend, Mikael Blomkvist (Sverrir Gudnason) appears, but it is rather a cameo, unlike his main role in previous books and films. He provides help to track targets and resolve clues, but with Salander’s abilities, it seems superfluous, like Salander’s mohawk, a part of who she is.
Their relationship has hardly been explored, and Blomkvist is now a more modest version of the character who has not written anything for three years and who does not seem to know how to remove Word documents. The consistencies in the world of girls that do not exist.
A smart secret agent from the US UU., Played by Lakeith Stanfield, adds another player to the mix. He and Salander share one of the funniest moments of the film, with Salander stealing a Lamborghini in the style of a black Batmobile, and the deputy director of the Swedish secret service Gabriella Grane (Synnøve Macody Lund) saying: “Arrest him.” He came back to Disneyland. “
If The Girl in the Spider’s Web brings something to the table, it’s another look at Salander’s past. But it is handled lightly, with a lighter tone and more pleasant to the palate. This is not an independent entry, but it is trying to be, reiterating the characteristic features of Salander and potentially setting it up as a hacking detective to rent, a long opening sequence to the included James Bond.
The Girl in the Spider’s Web is introduced in theaters on November 9 in the United States, on November 21 in the United Kingdom and on November 8 in Australia.
Anchored by a steely performance by Claire Foy as the hacker-avenger Lisbeth Salander, The Girl in the Spider Web is possibly the most accessible entry in the Dragon Tattoo franchise. It is more energetic than David Fincher’s artistic and artistic remake in 2011 of The Girl with the Dragon Tattoo, and avoids the more mundane procedural aspects of the series in favor of being a child rescue / retrieve thriller MacGuffin. In that sense, The Girl in the Spider’s Web is more in line with the original Swedish film trilogy, which in itself was more “Hollywood” in many ways than the rather austere reinterpretation of Fincher.
This time, Lisbeth is running away after a job that went wrong finds her on the bad side of NSA agent Ed Needham (Lakeith Stanfield) and the Swedish authorities, but her real opponent is her own sister Camilla Salander (Sylvia de Blade Runner 2049 Hoeks). The proverbial sins of the past that return to persecute Lisbeth, a character who is already struggling with many past traumas, make this an especially personal battle for her.
What differentiates The Girl in the Spider’s Web, an adaptation of the novel by David Lagercrantz, the first book in the series that follows the death of the creator Stieg Larsson, of the other films, is that it turns the Girl from the same name in the history engine. This entry does not emphasize the role of the intrepid investigative reporter Mikael Blomkvist (Sverrir Gudnason), who had been the conduit of the audience in the original trilogy and in Fincher’s film, in favor of the dragon tattoo, Lisbeth.
Automatic play setting: activated
While Mikael still has a role to play, his is definitely a functional role here in the service of Lisbeth’s mission. Lisbeth has always been the most dimensional and intriguing character anyway and, four films later, it’s comforting to see her finally more central than ever in the plot. Probably it could be argued that the inclusion of Mikael in the Web of Spider is superfluous, that the information that he helps Lisbeth to discover are things that he finally finds on his own. But I guess not having Mikael in a girl movie would be as strange to some fans as a Superman movie without Lois Lane. Unfortunately, Foy and Gudnason have very little chemistry.
Lisbeth has never been a character that invites both the affection of the audience and her empathy. She has always kept other characters (and spectators) at a distance. In this installment, Lisbeth finds herself looking for a girl in danger, a mission that does not soften her as much as forces her to forge a bond with someone who is not capable or is not interested in hurting her or exploiting her physically or emotionally. . Protecting young August Balder (Christopher Convery) is related to Lisbeth’s pain and guilt for leaving her sister Camilla as a child. And as he also did in his Emmy-winning performance in The Crown, Foy stands out for revealing the inner state of his character with just a look or a bit of body language, intelligent choices given the tenderness and few words that Lisbeth is.
(Regarding the relationship of Lisbeth and August, who is generally sensitive, August’s character belongs to a disturbing emerging theme in the movies.) Yes, August was also a sage in the original book, but The Girl in the Spider’s Web, like the recent El Predator and the old Mercury Rising, treats a child’s autism as a superpower at best and a plot at worst.)
Camilla Salander does not have as much screen time as one might expect, but Sylvia Hoeks interprets it with wounded authenticity and an icy underestimation. The appearance of fire and ice of his character is as rigid as the gothic / punk darkness of Lisbeth. Camilla has a story as traumatic as her sister, with one brother talking the way of an implacable avenger and the other, abandoned in a realm of corruption, becoming a criminal without remorse. I would have liked to have spent more time exploring the dynamics between these two sisters, but the film is determined to make sure it continues to move towards the next suspense sequence.
As he did with Evil Dead and Do not Breathe, director Fede Alvarez once again puts his female head through the doorbell, with Lisbeth getting shot, punched, strangled, drugged, chased, and almost flying to the shipyards in several points. Álvarez presents a series of different action scenarios here: a fight in the bathroom, a motorcycle chase, a cat-and-mouse sequence at an airport and a violent robbery at Lisbeth’s house, with the prominent climatic attack. at the base of the villain.
However, the best sequence in the movie occurs mu