yeah, im eager to see this too.

i heard that hollywood is already on it's way to bastardizing the film actually.
but, at least david fincher is signed on to be the director

Oh hai, I didn't even know this thread existed.
I don't even know why I never thought to check even though I love this film so much.


As I said in the Latest Movie You've Seen Thread, I did watch this for the second time yesterday. I love it so so much.
I really wish there was some way to see the full version of this movie. From what I know all 3 of these were made for TV movies, and the DVD versions are shortened versions (but not by much) of what was shown on tv.



And agreed with Rhett, it will be really interesting to see the American version of this film. I don't really know how I feel about Daniel Craig being cast as Mikael, I mean sure he looks like Michael Nyqvist, but I don't know if he can play the part as well.
But either way I'm excited to see the other two Swedish films and all 3 of the American versions.

there's a dvdrip of the sequel already available online...i watched it about a month or 2 ago...i liked it better than the first.

for one...there's more action and certain things about the character's past are uncovered..really good.

Just saw The Girl Who Played With Fire. I probably enjoyed it as much as the first film. I thought the pacing was a bit faster and there seemed to be more of an emphasis on the character of Lisbeth, whereas in the first movie Mikael seemed to be the main protagonist.

Chris, you'll just have to do what we Aussies call "Chucking a Sickie" That means calling in sick when you just want the day off!! Or in your case....will have far more important things to do....LOL

I loved this movie. It was a really refreshing movie to see at the cinema and it was great to see a foreign film actually get a mainstream release for once. Brilliant film. Unfortunately I missed The Girl Who Played With Fire which is a shame. Will I need to see it in order to see Hornet's Nest?

Also are the books worth reading for it too?

In terms of the american remake, even though it's Fincher I'm not going to see it, purely because I think the films is fine as it is anyway. This is nothing against Fincher as I respect him as a filmmaker but I think it's just sad that the film has to be remade in English just 2 years after it's original release. To me that's just a big insult. At least Fincher won't make a complete pigs ear of it unlike most hollywood directors.

I just watched The Girl Who Kicked The Hornet's Nest, and I have to say it was my favorite out of the three films.
I need to buy all these movies on DVD so so badly. All 3 rank as some of my favorite movies of all time. Such great acting and cinematography and the score is also very good!

TGWKTHN won't be out in the States for a few more weeks...(

Here's some photos of the new The Girl With the Dragon Tattoo being filmed, which will be released on 12/21/11.

Still can't wait to see the third installment of the Swedish version of the trilogy.



Edited 2 time(s). Last edit at 10/13/2010 02:10PM by RhettButler.

RhettButler posted:

The Girl Who Kicked the Hornet's Nest is coming out this weekend in Boston. Can't wait to see it!

I just picked up TGWTDT and TGWPWF today on DVD. I'll enjoy re-watching them.

I ordered those 2 from Amazon last week, I should get the physical DVDs on Monday. Best thing about the purchase of those two dvds is I got a digital copy from Amazon so on my ride up to Boston this morning I watched both of them! lol

Here are two reviews of TGWKTHN. Both are favorable, but not glowing. I still can't wait to see it.


The New York Times
The Girl Who Kicked the Hornet's Nest

In Trilogy’s Finale, Tough Girl Rages Against Villains of Society
By MANOHLA DARGIS

Lisbeth Salander can finally wipe the blood off her face. After being repeatedly beaten and raped, tied up like a pig being prepped for the knife and shot one, two, three times (in one go), the little woman with the large tattoo can sit back in her cool digs and enjoy a much deserved smoke. It’s been a long time coming, literally, what with seven hours of art house pulp craziness — Nazis and child molesters, an evil psychiatrist and a prostitution ring — which, among other things, proves that women in trouble never go out of style.

These days a miraculously timed e-mail is more apt to come to a damsel’s rescue than the cavalry, but whether she’s Pauline in peril or Lisbeth, danger is familiar business for women. Familiar and lucrative, to judge by the popularity of the books in Stieg Larsson’s Millennium Trilogy — “The Girl With the Dragon Tattoo,” “The Girl Who Played With Fire” and “The Girl Who Kicked the Hornet’s Nest” — and the movies that followed. Certainly the wild success in both forms explains why this is one distaff story Hollywood can get behind: even as the final Swedish movie brings the initial screen cycle to a close, David Fincher is directing the first American adaptation, a sign that a good, possibly great screen version might still happen.

Until then, there are the Swedish imports, including the latest, “The Girl Who Kicked the Hornet’s Nest,” directed by Daniel Alfredson. Far better, there’s also that girl, the genius computer hacker played by Noomi Rapace. Although bulkier and older than Larsson’s pin-weight creation, Ms. Rapace over the course of the three movies has made this tricky, irresistible character her own, a particularly noteworthy achievement given that Lisbeth (who might be autistic) leans to degrees of expressive inexpressiveness. With her hard gaze and underlying menace, Ms. Rapace — with Salander as her guide — holds your attention in these mostly unmemorable movies. Particularly crucial is her punishingly physical performance, which underscores that this is very much a story about what some men do to women’s bodies.

Salander’s own body receives some of the worst abuse. The last time we saw her, she had planted an ax in her father’s head, but only after she was shot three times (by dear old Dad) and buried (by her semimutant half-brother). As it turns out, all unhappy families really are unhappy in their own way: when she was 12, the precociously capable Salander torched her father, Zalachenko (Georgi Staykov), a Soviet spy turned wife beater and sex trafficker, with very powerful Swedish friends. Hoping to protect her mother, the daughter barbecues her father, leading to Salander’s longtime institutionalization. She enters the most recent movie as slicked in gore as Mel Gibson’s Jesus, whose torment and resurrection she parallels.

“The Hornet’s Nest” feels very much like the concluding chapter it is, with neatly tied loose ends and closing remarks, if one that plays out as something of a secular passion play. That Lisbeth has been nearly martyred again and again in a crucible of male violence is part of the trilogy’s kink and probably a large part of its appeal. Unfortunately for those who like to see Salander in flamboyant action, she spends much of this movie confined first in a hospital and then in jail, where she prepares for the court trial that will seal her fate partly by working out like a wee Travis Bickle. For her, life has been defined by continuous suffering and raging battles with enemies fought on all fronts: mental, physical, technological and legal.

If she needs every resource at her disposal, it’s because the sins, individual and institutional, of the father, or rather fathers, weighed heavily on the trilogy. The overarching narrative is filled with the evil that men do to women — wives, daughters, prostitutes, even unlucky female passers-by. But the villains aren’t simply isolated rogues, as they tend to be in American movies; they’re also systems of oppression, ranging from the nominally personal (abusive parent and child) to the overtly political (oppressed citizen and state). For her part, Salander might be a loner but she believes in collective action, waging war with the help of a few good men, chiefly Mikael Blomkvist (Michael Nyqvist, reliably appealing), an activist left-wing journalist.

Like the earlier movies, “The Girl Who Kicked the Hornet’s Nest” trades on the spectacle of female suffering, including a repeat of the ghastly rape in the first flick. At the same time, as in certain slasher films from the 1970s and high-end thrillers that borrow from a similar horror playbook, the violence against women in the Millennium movies is answered by a young woman, the one whose bad attitude is as unapologetic as that of any male avenger. Salander hits (and sometimes shoots) back and never says sorry. Every so often, she responds to some violence with a small, mean smile that the camera makes sure to capture. There’s satisfaction in that smile, maybe cynicism, but no evident moral complexity.

Mr. Alfredson directed the second movie as well, and his work is again essentially functional, limited to clumsy action sequences and television-ready conversations. He doesn’t prettify the violence in either movie, which might be unintentional but makes them feel more honest than the first did. That more visually ambitious effort, directed by Niels Arden Oplev, softened all the ugliness with haunted, wintry tableaus, whereas Mr. Alfredson has to make do with a Stockholm that hardly conveys a noir nightmare. It looks so banal, which — with the hot, bisexual babe and heroic leftist journalist — might explain why a revenge fantasy as crudely plotted, disreputably pleasurable and aesthetically irredeemable as any churned out in the lower cinematic depths has made it to American art houses. Here, payback seems so civilized.

Roger Ebert
3 stars (of four)

Lisbeth Salander makes a transfixing heroine precisely because she has nothing but scorn for such a role. Embodied here for the third time by Noomi Rapace, she's battered, angry and hostile, even toward those who would be her friends. Some of the suspense in the final courtroom showdown of "The Girl Who Kicked the Hornet's Nest" comes from the excellent question of whether she would rather be found guilty than provide anyone with the satisfaction of hearing her testify in her own defense.

By the time she comes to what is essentially a sanity hearing, she has returned to the ranks of punk fashionistas, with the black leather pants and jacket, the boots, the studs and buckles, the spikes, the body piercings, the eyeliner that looks like protective armor and the stark black crest of her hair. She sits sullen and silent in the courtroom, as if saying, I care nothing for you, although I have spent hours working on my look in front of the mirror.

She is formidably smart and deeply wounded from childhood, as we know from the earlier two films in the Stieg Larsson trilogy. Worse, she can't leave her pain behind. Again in her life are her freakish, gigantic half-brother, Niedermann (Mikael Spreitz), and the psychologist who fabricated her incarceration in an asylum. And the murderous members of "The Section," a rogue killing unit within the Swedish national police, are determined to eliminate her once and all.

The outlines of her dilemma will be clear to those who've seen "The Girl With the Dragon Tattoo" and "The Girl Who Played with Fire," but this film has enough quick flashbacks to orient the first-timer. It begins literally when the second one ended, after the bloody confrontation in the barn with her father and half-brother. She's taken to the hospital with a bullet in her brain, and spends much of the film's first half in intensive care and refusing to speak.

That frees the director, Daniel Alfredson, to focus more time on Mikael Blomkvist (Michael Nyqvist), the investigative journalist who collaborated with her in the first film and has become her fierce defender — and perhaps more, a man who loves her. Their mutual affection was an intriguing subtext in the first film, but has been on hold ever since, while Mikael continues his relaxed intimacy with his editor, Erika Berger (Lena Endre). There are said to be two more Larsson novels in various stages of completion, but even if they're not publishable, Lisbeth Salander is too good a character to suspend after three films, and my guess is there must be sequels.

The sequels need not fret overmuch about plot. These films are really about personality, dialogue and the possibility that the state has placed itself outside the law. That leads to an oppressive, doom-laden atmosphere that the characters move through with apprehension. We understand the basics of "The Section" conspiracy, we recognize most of the faces, but few of us could pass a test on exactly who is who. No problem; neither could Lisbeth or Mikael.

The tension — and there is a lot of it — grows from the danger that Lisbeth brings upon herself by refusing to act sensibly for her own welfare. She has such a burned-in distrust of authority that even a friend like Mikael gets closed out; Rapace takes a simple friendly "see you" and invests it with the effort it costs Lisbeth to utter. Her battle with herself is more suspenseful than her battle against her enemies, because enemies can be fought with and that provides release, but we spend much of "The Girl Who Kicked the Hornet's Nest" straining against Lisbeth's fear and sending her urgent telepathic messages about what she should do.

These are all very well-made films. Like most European films, they have adults who are grown-ups, not arrested adolescents. Mikael and Erika, his boss and lover, have earned the lines in their faces, and don't act like reckless action heroes. They make their danger feel so real to us that we realize the heroes of many action movies don't really believe they're in any danger at all. Lisbeth is in grave danger, but in great part because of her damaged obstinacy, and that scares us more than any number of 6-foot-4 Nordic blond homicidal half-brothers.

So what has happened is that this uptight, ferocious, little gamine Lisbeth has won our hearts, and we care about these stories and think there had better be more. The funny thing is, I've seen the "real" Noomi Rapace on TV, and she has a warm smile and a sweet face. What a disappointment.

Rooney Mara as the new Lisbeth:



Daniel Craig on the set:

I think she looks convincing, but yeah, it's odd seeing a different actor play a character that you associate with someone else. When I watched M*A*S*H the movie I was like, "Donald Sutherland is not Hawkeye! Where's Alan Alda!"

some interesting news on the new one being adapted.




Rooney Mara tells W magazine-
"Before I read the book, I didn't think I could do it," Mara told W of tackling the role. "I locked myself in a room for a week and read all three books, and decided I really wanted to be Lisbeth. But I thought I had no shot at it."

She was up against some stiff competition to be sure. Fincher auditioned Hollywood A-listers Natalie Portman, Scarlett Johansson and Jennifer Lawrence, as well as more unconventional options like Yo-Landi Vi$$er, the frontwoman of Die Antwoord. What's more, Fincher required many of the actresses to read through a shocking rape scene.

"David added the rape scene at the last minute, and I said, 'Ohmigod! They must be really serious,'" said Mara. "They did one test, then another a week later. They shot me in the subway in L.A. in full hair and makeup with a motorcycle. Every day they had a new request. On a Monday morning, David called me in, and I said, 'What do you want me to do to my hair now?' I was at the end of my rope. He told me I had the part. I hadn't even read the script yet."

According to the W story, that script will differ substantially from Larsson's novel. Though the movie will retain the Swedish setting, Blomkvist supposedly won't be quite as much of a ladies' man, Salander will kick even more butt and -- don't have an aneurysm -- the ending will be completely different. Consider us intrigued.

just saw 'The Girl With The Dragon Tattoo' bit late i know, a very good film, i'll be buying the next one tomorrow