The Girl in the Spider's Web (2018)
Critic Consensus: The Girl in the Spider's Web focuses on the action elements of its source material for a less complex -- and only sporadically effective -- franchise reboot.
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as Lisbeth Salander
as Mikael Blomkvist
as Alona Casales
as Camilla Salander
as August Balder
as Milos Meer
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Critic Reviews for The Girl in the Spider's Web
Elizabeth solander is a larger than life figure and she's grounded in something more meaningful, and you lose parts of that with this film.
That's it. That's all that has changed. Foy in the lead role. Otherwise everything else is the same, only worse.
A fast-paced, high-octane espionage action flick with superhero flourishes.
Glowering at the centre of it all is Foy. It is not the actor's fault that you sometimes drift off and find yourself wondering why the Queen looks so irritated. But you do.
Foy can look fierce in leather, grab your attention amply and glower her way through it only so far, before the plot's pretend depths catch up with her, demanding crocodile tears and unearned pathos.
Audience Reviews for The Girl in the Spider's Web
The Millennium series is rebooted once again with the somewhat route techno-thriller The Girl in the Spider's Web (the fourth book in the series). After stealing a nuclear control program from the NSA, computer hacker Lisbeth Salander is attacked by a crime syndicate that takes the program and kills the programmer who developed it, and when Lisbeth attempts to get it back she discovers that her estranged sister Camilla is behind the syndicate. Claire Floy leads the cast as Lisbeth, but doesn't have the charisma or mystique of Rooney Mara or Noomi Rapace (the previous Lisbeths). However, the script writers do a good job at adapting and paring down David Lagercrantz's novel; making it more cinematic and compelling. And the action sequences are especially gritty and exciting. While it has its problems, The Girl in the Spider's Web is an entertaining film and a solid reboot of the series.
I'm fairly certain nobody asked for this. And I'm DAMN sure Sony didn't want to make it. But here we are. The Girl in the Spider's Web is the latest (and probably) last film adaptation of the Millennium franchise. If you may recall a decade ago, a trilogy of books written by Swedish author Stieg Larson gained a cult following internationally, which was followed by a modestly successful low-budget trilogy of films made in Sweden. Not to be left out of the action, Hollywood (in this case Sony) bought the rights to make their own version of the first book, The Girl with the Dragon Tattoo. In what could have been a disaster (See: The Snowman) we instead got a generously funded picture helmed by David Fincher, and scored by Trent Reznor, hot off the success of The Social Network. It was another modest victory for the franchise, making a small profit and several academy award nominations, winning one for film editing. But that wasn't enough for Sony, who wanted an unrealistic $500 million, and refused to back a sequel with comparable cost. Meaning all the A-list talent (Fincher, Reznor, Rooney Mara, and Daniel Craig) walked out the door. Any sequel would be made on the cheap and would not be a priority for the studio. And that's precisely what led us to this pass. The Girl in the Spider's Web. An ill-administered film made years after the franchise had faded, based loosely on a book not written by the creator of the series, by a studio indifferent to its success, and a team not suited for this kind of picture. But credit must be given where it is due. Claire Foy commits admirably to make the best of a doomed situation and must be commended for courage under fire. She is the third actress to play the heroine Lisbeth Salander, and while she is easily the weakest version, she still gives a capable run, dying on a hill no else cared to defend. The film itself makes an inexplicable error - it tries to become an action film in the vein of the Bond series or Mission Impossible. While the Millennium novels have always had connections to 007 (look it up) Lisbeth Salander's adventures were always small scale and slow-burn mysteries. Both the series and the character are ILL EQUIPPED to deal with the game of shadowy terrorist organizations, stolen nuclear codes, dodging explosions, rogue NSA agents, hallway firefights, and chases involving motorcycles and supercars. I shit you not. That is the plot of our Girl with the Dragon Tattoo sequel. There is a scene early on in which Salander does what she does best - punishing the shit out of assholes who abuse women. And that's probably the best scene of the film, because it is the only one with any pulse. While it's obvious that they probably should have made smaller scale versions of the rest of the original trilogy instead of this misfire, I'm not sure they could even accomplish that. Some characters from the series return in dramatically altered form, such as Mikael Blomkvist, and are largely given nothing to do. Fede Álvarez was successful in his attempt to remake Evil Dead for the 21st century, but it's clear that he was given little freedom here, as there is little to no artistic stamp present. Gone is the neurotic, but charming claustrophobia of the Swedish trilogy or the cold, slick beauty of Fincher's film. What we have is a lifeless, pointless piece of drivel filled to brim with action and double-crosses, yet it remains boring and inert. I highly doubt this is going to get any academy awards. I can't even recommend Spider's Web as a rental or on Netflix. You have better things to do with your time.
Itï¿ 1/2(TM)s a weird feeling walking into a movie and already having the perspective it was a mistake to make. Needless to say, there were both low expectations and very little desire to see The Girl in the Spiderï¿ 1/2(TM)s Web , but the fact director Fede Alvarez (2013ï¿ 1/2(TM)s Evil Dead, Donï¿ 1/2(TM)t Breathe) was at the helm did offer some hope. While this new Lisbeth Salander story isnï¿ 1/2(TM)t actively bad it is a rather dim film both in terms of its aesthetic and some of the decisions both the plot and its characters make. Examples? Sure-within a single scene weï¿ 1/2(TM)re led to believe that a main child character is something of a genius and also that he wouldnï¿ 1/2(TM)t know better than to take the bait of his dead dad calling his cell phone which is of course a ploy so the bad guys can track him. Alvarez also gets a screenwriting credit alongside Jay Basu and Steven Knight ( Locke) and while there is a sense of some symmetry, some poetry even, to the writing there simply isnï¿ 1/2(TM)t that solid hook that pulls one into the mystery of it all as a good crime thriller or murder/mystery should. There are some really brutal and fairly creative moments in terms of the many kills that happen and the sometimes extreme emphasis on the violence of those situations, but how much of this should be credited to the screenwriters and how much comes from the David Lagercrantz novel is uncertain. On the other end of things, some of the action Alvarez stages is borderline incomprehensible and Foy, for all her effort, gets to actually act in maybe one scene. Why Sony wouldnï¿ 1/2(TM)t cut Fincherï¿ 1/2(TM)s budget in half and let him continue his franchise with Rooney Mara and Daniel Craig will always be something of a mystery, but in attempting to re-boot the franchise (with only an $8 million opening weekend I think we can safely assume this franchise is dead) Sony has made a movie that was both a waste of time for them and, unfortunately, the small audience that will venture out to see it.
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