Summary: Journalist Mikael Blomkvist is aided in his search for a woman who has been missing for forty years by Lisbeth Salander, a young computer hacker.
So why is the opening title sequence like being stuck in a Tool music video? It is so horrible I was jealous of the late comers who timed it perfectly to miss the cybergoth wet dream that I witnessed. This film only really left me with questions: Why does Lisbeth seem nervous and meek rather than angry and confident? Why is the 'background' music mixed as loud as the conversations? Why is the emotion implied by the music rather than the acting and why do Lisbeth's story seem to have been directed in a different style than Mikael's story? I know me and the Fincher have a rocky relationship (lets face it he hasn't done anything good since Zodiac), and I know I loved the book and the Swedish original but I really did try to go into this with an open mind.
The music was the 1st thing that annoyed me, thumping beats to signify rising anger, off tune piano notes to symbolise tension and generally the way I was straining to hear the conversations. Next annoyance the pace seemed off, I felt I was thrown in with the characters rather than them being introduced, yet even though it felt like Fincher was rushing through it, it still went on forever................. I really thought it was ever going to end. Fincher also, even though he had 158 minutes, cut many of the more tender moments I loved in the original such as Mikael and Lisbeth's car journey. I didn't really engage with the film until Mikael and Lisbeth had united as until then I couldn't seem to find a coherency in the direction and then after the mystery of Harriet is reveled I felt frustration again Lisbeth begins to talk away too much and lose all her mystery. The only thing I really enjoyed was Daniel Craig who's use of his glasses was by far the best thing in this film.
Overall: What a waste, watch the original. 2 out of 5.
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