Antisocial hacker and ball-breaker Lisbeth Salander has finally made a return to the big screen in this adaptation of David Lagercrantz's fourth book of the "Millenium" series.
Departing from the brooding drama and gritty violence of Stieg Larsson's first three stories, this instead heads down the more conventional Hollywood path. Gone is the laser-focused indictment of misogyny. Gone is the lucid paranoia or the slow-burning mystery. Here we have a middling spy-thriller that only loosely acknowledges its roots; I'm sure Larsson will be turning in his grave.
Consistent though, are Lisbeth's (played by the excellent Claire Foy) knack for kicking some serious ass and penchant for a bit of heroic crusading and vengeance. Throw in a moral conscience, family infighting, and a rogue piece of software on the loose (that allows a single user control of the world's nukes … of course) and you have a bitchy blend of Bond, Bourne and Batman.
It's all fairly conventional stuff; a very simple tale of fast cars (and bikes), preposterous motivations, a far-fetched use of tech, and disorienting action sequences all set to the backdrop of a forgettable soundtrack. Uruguayan director Fede Alvarez (Don't Breathe) does bring about some visually striking set-pieces that make full use of his horror background, but unfortunately, the collective whole feels too episodic.
What is refreshing, though, are the traditional gender roles that have been turned on their head. The chief power parts (on both sides of the ledger) are strong active women, with men being relegated to the margins. At one point the film even acknowledges the passivity of journalist Mikael Blomkvist (Sverrir Gudnason) as just a pretty face.
