David Fincher's remake of TGWTDT has enough to keep the film steady on its feet, but lacks a horde of specific qualities from Oplev's excellent effort.
Firstly, in a basic mystery story, there is a need to present a series of twists and discoveries that lead to solving the mystery. Fincher's film fails to present this trail of bread crumbs in the same enticing way that Oplev's did. Instead, we get a fast forward hyperspace logic jump when Blomkvist's daughter (out of nowhere) points out the vital clue that breaks the case, and then all related info is collected by Lisbeth in 5 minutes.
Secondly, the following characters were shadows of themselves in the Fincher version: 1. Lisbeth Salander 2. Henrik Vanger 3. Martin Vanger 4. Bjurman The actors weren't horrible, but they were not as good as the ones in the Swedish version.
Lastly, there were key omissions and changes which, for me, were completely inexplicable and confusing. 1. Lisbeth's past, father, etc. was one or two lines of dialog. 2. Harriet Vanger in London? 3. Vanger does not tell Blomkvist that he knew Harriet.
It all adds up to a disappointing attempt to recreate the dark energy of Oplev's film. And the opening sequence was like a Tool video mixed with bad James Bond.
Firstly, in a basic mystery story, there is a need to present a series of twists and discoveries that lead to solving the mystery. Fincher's film fails to present this trail of bread crumbs in the same enticing way that Oplev's did. Instead, we get a fast forward hyperspace logic jump when Blomkvist's daughter (out of nowhere) points out the vital clue that breaks the case, and then all related info is collected by Lisbeth in 5 minutes.
Secondly, the following characters were shadows of themselves in the Fincher version: 1. Lisbeth Salander 2. Henrik Vanger 3. Martin Vanger 4. Bjurman The actors weren't horrible, but they were not as good as the ones in the Swedish version.
Lastly, there were key omissions and changes which, for me, were completely inexplicable and confusing. 1. Lisbeth's past, father, etc. was one or two lines of dialog. 2. Harriet Vanger in London? 3. Vanger does not tell Blomkvist that he knew Harriet.
It all adds up to a disappointing attempt to recreate the dark energy of Oplev's film. And the opening sequence was like a Tool video mixed with bad James Bond.