The Girl in the Spider's Web (R)
21/11/18 19:55 Filed in: 2018
Directed by: Fede Alvarez
Starring: Claire Foy
Warning! This is NOT a movie review. This is a critique of the film. Intended to initiate a dialogue, the following analysis explores various aspects of the film and may contain spoilers. Views are my own and elaborate on comments that were originally tweeted in real time from the back row of a movie theater @BackRoweReviews. For concerns over objectionable content, please first refer to one of the many parental movie guide websites. Ratings are based on a four star system. Happy reading!
Lisbeth Salander (Claire Foy) is back in The Girl in the Spider’s Web, based on the novel by David Lagercrantz and the characters created by the late Stieg Larsson. An extension of the American franchise (predated by a Swedish trilogy based on Larsson’s Millennium series) that began with David Fincher’s The Girl with the Dragon Tattoo (2011), Spider is directed by Fede Alvarez (Don’t Breathe) and features a largely foreign cast, which lends the film added authenticity. The story begins with computer hacker Salander accepting a job to steal top secret information. Soon after completing the task, Salander becomes the target of several international agencies including: the Swedish police, Russian agents, the NSA and a mysterious figure from her past. What has drawn the interest of such disparate entities? A computer program called Firefall, which can access the codes of every nuclear arsenal on the planet. And it’s up to Salander to make sure the program doesn’t fall into the wrong hands. The stolen files become the movie’s MacGuffin—the various parties are willing to go to any length to secure it, which presupposes an action-oriented plot. And indeed, the movie is packed with full throttle, well-choreographed action sequences that feel like they were lifted right out of a Bourne or Bond film. The motorcycle chase, culminating with Salander hurtling across an icy lake, is one of the most spectacular sequences in the movie. The bathroom brawl, vertical-lift bridge shoot-out and gas mask melee are also finely executed fight scenes. Foy (TVs The Crown) is absolutely spellbinding as misanthropic photo journalist Salander. Whereas Rooney Mara (from Dragon) tried to act anti-social and mad at the world, Foy just is. Though Foy is effective throughout, she’s downright frightening in her initial sequence where she goes vengeful vigilante on a woman beater—the makeup around her eyes gives her an added layer of feral intensity and makes her look like the newest member of the Suicide Squad. Salander’s boss and confidant, Mikael Blomkvist (Sverrir Gudnason), has a far less significant role in this movie and, disappointingly, doesn’t really factor into the story in any meaningful way. And, with apologies to Gudnason, he’s no Daniel Craig. The gorgeous locations, many of which were filmed in and around Stockholm, Sweden, add a great deal to the film and are truly mesmerizing and transporting. The cityscape establishing shots, particularly the ones shot at dawn, dusk or night, are breathtaking. Alvarez and his location scouts found some spectacular places to film, most notably an abandoned observatory. Such a locale is typically used as the villain’s lair, not the hero’s hideout, so kudos to Alvarez for bucking convention. There’s far more backstory for Salander in this film than in Dragon. At the beginning of the movie, we witness a deeply disturbing flashback scene where young Salander leaves her sister alone with their father. The scene gives us the distinct impression that the girls grew up in an incestuous environment. Due to Salander’s traumatic childhood, she distrusts most people, men in particular. Since one of the movie’s main themes is the sexual exploitation of women, Salander is held up as a type of avenging angel (or demon) when she ties up and tortures the man who batters a defenseless woman. On a psychological level, taking revenge on the man is a form of catharsis for Salander; tormenting the perpetrator is like getting back at her father. The film seems to suggest that such heinous deeds are justified and that “an eye for an eye” is a perfectly acceptable method of punishment under the circumstances. It’s ironic that her vicious attack makes Salander just as bad as the abusive man. But such irony is lost on a movie bent on glorifying violence and applauding vigilantism. Sad. Whereas Dragon was a well-constructed mystery; Spider is a high-octane spy film. Though lacking in star power, the story by Alvarez, Jay Basu and Steven Knight is a taut thriller that keeps the audience engaged all the way up to its cliffhanger ending. So, let the debate begin. Is Spider as good as Dragon? Regardless, if you can get past the movie’s objectionable content, this is one yarn you’ll be glad you got tangled up in.
Rating: 3 out of 4