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WWe are in the middle of a good old days for franchises. Thirsty studios continue to tinker with well-known properties to restart, rehabilitate and resuscitate their audience, which is often appealing but confusing to the public. The latest version of Halloween has made Jamie Lee Curtis disappear from the dead; Amazon presented to the fifth actor the role of Jack Ryan, a rather dull member of the CIA, in the recent eponymous series. next month The Grinch returns as a cartoon; and in December, Sony launches an alternate universe of Spider-Man animation, existing next to their live news series rebooted.
Which brings us, sigh of exhaustion, to The Girl in the Spiderweb, a film that introduces us to the third Lisbeth Salander in eight years – and if Sony, the studio that supports it, succeeds, hopefully -the last, to launch a new definitive franchise. Stieg Larsson's best-selling, millennial series was transplanted for the first time on screen in 2009; the three books were adapted and published in a few months, which allowed the star Noomi Rapace to be presented in Hollywood. Just two years later, Sony attracted David Fincher on a first English-language novel, awarding Rooney Mara an Oscar nomination. Although the box office results were decent, they were not decent enough to justify a budget of $ 90 million. This meant that despite Mara's interest, a sequel had failed and that a cheaper option had materialized. With half the budget, Evil Dead remixer Fede Alvarez took the helm and instead of continuing with the original trilogy, the fourth book was chosen, written by David Lagercrantz long after Larsson's death.
It may seem strange to jump from one to four, but this so-called "soft reboot" acts as a kind of original narrative with a plot that plunges into the notorious goth-hacker background. Salander (played this time by Crown's Claire Foy) remains a general vigil in Stockholm, shooting down powerful men who exploit women. She is also still a pirate for hire and her latest job allows her to discover a powerful program that gives her owner the opportunity to take over nuclear weapons around the world. It propels her into a dangerous underworld and forces her to face her dark childhood, the memory of her violent father and the sister she thought she had left to die.
On paper, it may seem confusing to bring Salander back to the screen again, but it's clear from the first 15 minutes that Sony hopes to position it as a female alternative to James Bond (something that Alvarez has also confirmed). This may also seem confusing for book fans, since Salander's stories have traditionally been structured as mysteries that make pages turn, but The Girl in the Spider's Web is an unashamed attempt to attract a wider audience at a time of increased visibility of women the kind of action. It's an elegant and efficient, but almost anonymous entertainment room, and Salander's idiosyncrasies buried beneath a more multiplexing exterior, kicking him and heading for an inevitable triumph.
Despite the shiny new packaging, the story that unfolds is inevitably dated. Salander's hacking prowess is used for tricks that would have seemed more original if they had been used in 1995 by Sandra Bullock's character in The Net (a character at one point receives a significant clue by fax). She is also close to the superhuman, setting traps and predicting the results in a way that a smarter and more skillful script could have managed effortlessly. But here, it just seems impossible, even psychic, and such a magical intelligence with other more stupid forgetfulness from his ex-partner, Mikael Blomkvist, played here by Sverrir Gudnason. His existence in history is so superfluous that he might as well be absent. The same is true of Salander's queer, which is most often forgotten, with its mark of feminist vengeance, presented early in a powerful introduction and then abandoned almost immediately.
After exchanging with The Crown, Foy made a number of choices suggesting that she is well aware of the danger of typing conversion when she plays such a large role. This year alone, she played a woman who challenged her sanity in Steven Soderbergh's rather uneasy exploitation thriller and Neil Armstrong's frustrated wife in Damien Chazelle's drama First Man. In both films, she far exceeded the material she was given and it's a skill that lasts here. His imposing presence adds weight to a character who does not have much depth.
But she can only do a lot of things before asking for more, given the way Salander was written with so many loving details on the page. Elsewhere, Vicky Krieps is incredibly underutilized and Lakeith Stanfield, an actor who can surpass herself well beyond a mediocre final product, is a reliable job.
The story of Alvarez in the horror genre (he also directed the movie Sleeping Don's Breathe) means he has the gift of playing with a nasty gore gore. view. Coupled with a great score, it presents a remarkable skill. It's quite watchable, but a strange lack of interest in presenting Salander as an engine to propel a plot. More female heroes are not a bad thing, but forcing Salander to put himself in Bond's shoes is like a misstep, his intellect and survivalism suited him for much more interesting activities. The girl in the spider web is trapped in the wrong kind.
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