Nobody could be surprised that the novels of the late Swedish writer and journalist Stieg Larsson, those of the successful Millennium saga , soon saw their corresponding adaptations to the cinema , although he could not even enjoy his publication, which was posthumous. He had planned ten books, but he only had time to write three before suffering a fulminating stroke in 2004, and these appeared in the bookstores from the following year. And, later, the publisher Norstedts announced in 2013 that his compatriot David Lagercrantz would be in charge of continuing with the series about Mikael Blomqvist and Lisbeth Salander starting with What does not kill you makes you stronger (2015), whose original title wasWhat does not kill us and that was changed for the Anglo-Saxon market by The Girl in the Spider’s Web , which is why the new movie of the Uruguayan Fede Álvarez, his adaptation, is called that.
With it, there are already five films based on these novels, after the dignified Men who did not love women , the passages The girl who dreamed of a match and a can of gasoline and The Queen in the palace of air currents (Niels Arden Oplev, Daniel Alfredson, 2009), the three with Swedish production, and the stylized Hollywood adaptation of the initial (2011) by David Fincher , the best of all without it is to shoot rockets , which results from the most logical if we take into account that it is something that already had given us great movies like the disturbing Seven (1995), the intricate mystery ofThe Game (1997), the emblematic Fight Club (1999), the dark and interesting La habitación del panico (2002) and Zodiac (2007), the satisfying fantasy of The Curious Case of Benjamin Button (2009) or the sharp blade of La social network (2010).
The fact that the producers of The Girl in the Spider’s Web , which we could consider the second best adaptation of the adventures of Blomqvist and Salander, decided to put their trust and their money in the hands of the independent Fede Álvarez can only be explained because it takes a couple of demonstrations of its effectiveness : after distinguishing itself with the virality of its audacious short film ¡Ataque de panico! (2009), which caught the attention of Ghost House Pictures, the producer of the filmmaker Sam Raimi ( Spider-Man , 2002-2007), commissioned the remake of The Evil Dead (1981), directed by Raimi himself, and the fruit was the terrifying infernal possession(2013) , elaborated with panache and verve but battered by the same unpleasant and puerile starting material. And more accurate was with the restlessness of the thriller No respires (2015) and his sequential ideas.
And it’s not that in his Millennium movie he did not show any sense in the decisions of the script, in whose writing he collaborated with Jay Basu ( Monsters: The Dark Continent ) and Steven Knight ( Eastern Promises ) and not with his usual Rodo Sayagues – his companion since the shorts – and that the criminal intrigue develops well by dosing their pleasing turns , neither by directing the actors nor in the audiovisual planning, which we discover reflected, thoroughly and always the most reasonable. But the latter does not move away as much as possible from the functional according to what the director’s manners promise; is a bet not too far from what we would expect in a similar thrillerwith a few scenes of action or physical confrontations. Pleases but does not dazzle, distract and convince without auguring us that we will remember it clearly after a few weeks, especially if we fill them with other film adventures.
That said, the image that will probably remain in our memory anyway is that of the British actress Claire Foy , whom we know for her role in the series The Crown ( Peter Morgan , since 2016) and which we have contemplated not long ago in First Man (Damien Chazelle, 2018), as the iconic Lisbeth Salander, central character in this film as it had not been in the previous ones by Mikael Blomqvist and for which Foy embroiders a temperamentthat in which he mixes his fame gained at the pulse of walking and antisocial danger, a firm and just determination, an unexpected emotional vulnerability to live the reunion with his terrible past more remote and even, another surprising feature, abilities in the fight body body or clean shot that would nominate her to be recruited as Jane Bond , to the ironic service of his Majesty. Instead, Sverrir Gudnason ( Borg McEnroe ) offers us an absolutely forgettable Blomqvist .
His presence is so sad that stands less than that of other side , is LaKeith Stanfield ( Atlanta ) as Edwin Needham, Stephen Merchant ( Logan ) on the skin of Frans Balder, the careful Cameron Britton ( Mindhunter ) as Plague, Vicky Krieps ( Phantom Thread ) incarnating Erika Berger, Claes Bang ( The Square ) as the lieutenant of the character that breathes life Sylvia Hoeks ( Blade Runner 2049 ) without enchanting us too much, which seems insufficient to measure up to Claire Foy. And, being Fede Álvarez a cinematographic animal of customs, has returned to use the score of the achiever Roque Baños ( Lázaro de Tormes ) and the environmental photography of Pedro Duque ( Extinction ) for the third and fourth time. So things, we still wait for this director to find that project that may bring to light the most talented ideas that can occur, since it has not been with the entertaining story in which Lisbeth Salander dies another day .