In The Girl in the Spider’s Web, the latest film in the Millennium franchise, we have a new Lisbeth Salander. As David Lagercrantz takes Stieg Larsson’s role in writing the series’s novels, Claire Foy takes the lead and the motorcycle from Noomi Rapace and Rooney Mara. But she is facing difficulties in the long run, it seems.
I must admit that I have never been a fan of such a dark franchise. Its universe unfolds amidst a cold, industrial labyrinth of concrete. Nothing welcoming here but humanity at its worst, deprived of social relations.
Back to Foy: though a good actor, she does not fit in the style of the movie at all. The role does not seem to be cut out for her. Feelings of tenderness are completely unnecessary in a role requiring a complete lack of emotion. She looks like a girl next door trying to hide every trace of humanity over her. It does not work and the result is hasty. At the same time, the nearly outrageous plot of the film adds a bit of hacker end-of-the-world conspiracy, a few dark secrets of childhood and a few “dangerous missions” stirring until the plot strands are joined together. So, without the presence of Rooney Mara and especially Noomi Rapace (who first impersonated Lisbeth’s aunt), The Girl on the Spider’s Web looks pretty much like a superficial neo-noir recipe for ratatouille.
The plot revolves around software that provides the user with access to global nuclear blending Swedish corruption, murder, and rape with no . Lisbeth is hired by the creator of the program to steal it (back?) from the United States. Later in the story, both the NSA and a wider, shadow organization that seems to have links with her family are becoming targets.
Everything in Alvarez’ movie is BIG, including Lisbeth’s apartment. It is the kind of house-cum-shack that only exists in movies. Everything in this movie could only exist in movies. The Girl in the Spider’s Web may be too divorced from the real world and the few unrelated scenes of action do not even for a second convince that the heroine is in real danger. A couple of misfortunes, physical or otherwise, are unfortunately not enough to create complete characters in a film that focuses on style rather than on substance.