Release: Friday, November 9, 2018
Written by: Jay Basu, Fede Álvarez; Steven Knight
Directed by: Fede Álvarez
2018 has been a productive year for Claire Foy, star of Fede Álvarez’s gritty, Scandinavian-set crime thriller The Girl in the Spider’s Web. In the span of nine months the British actress, perhaps most recognized as Queen Elizabeth II in Netflix’s critically-acclaimed drama series The Crown, has not only appeared but starred in three films, two of which were major studio productions. In March we saw her come undone at the seams in Steven Soderbergh’s iPhone-shot, psychological thriller Unsane, and just last month embody resilience as Janet Armstrong, wife of astronaut Neil Armstrong, in Damien Chazelle’s First Man. With Spider’s Web she proves she can take a life as ruthlessly as anyone. (Or, you know, spare it too. But we know better, this Girl isn’t big on compassion.)
Seven years after David Fincher’s adaptation of The Girl with the Dragon Tattoo, the first installment in Swedish novelist Stieg Larsson’s so-called Millennium Series, and it’s out with Rooney Mara and in with Claire Foy as Lisbeth (that’s a silent ‘h’) Salander, a steely-nerved spy/computer hacker and brutal dispatcher of men “who hurt women,” a vigilante who bears the scars of her own abusive history. It’s also out with Daniel Craig as journalist Mikael Blomkvist and in with someone else, but I’ll get to that later . . . maybe.
Even more confusingly, unless you’ve done your homework and actually seen the Swedish films adapted from each of the original three books, this belated follow-up pursues a narrative that technically kicks off a second “trilogy,” one authored not by Larsson but by David Lagercrantz, who was granted rights for continuity after the original author passed away suddenly in 2004. Lagercrantz’s first contribution to the series details Salander’s bloody dealings with cyber-terrorists and corrupt government officials alike as she attempts to recover and destroy a doomsday program created by a man named Frans Balder (Stephen Merchant). Along the way, Lisbeth must also deal with a past that comes back to bite her. Like a . . . like a spider.
First things first. Foy is enough to get you caught up in Spider’s Web. She takes a pedestrian thriller and punches it up with a physically bruising performance. Even if Foy is inheriting a lot of the character simply by sitting in a make-up chair — that jet-black hair and shoulder/back tat are definite and transformative trademarks — she plays emotionally detached quite well, her line delivery clipped in a manner that’s brittle and harsh, almost robotic. She perpetuates the tragic, enigmatic aura surrounding the character while delivering a number of harsh blows to her big-bodied opponents.
The story itself isn’t quite as distinguished. Spider’s Web is a pretty formal action flick that hinges upon a macguffin and its being kept out of the wrong hands. Who are the wrong hands exactly? Well, they call themselves The Spiders, which isn’t a very interesting name even if it is conceptually appropriate. Led by Claes Bang’s intimidating Holtser, they’re a shady organization to whom Lisbeth may or may not have a personal connection. Meanwhile, a child savant (Christopher Convery) proves just as crucial to the mission objective as a certain femme fatale (Silvia Hoeks, good but a plain Jane villain compared to her Luv in the Blade Runner sequel). The boy’s affinity for numbers and patterns just might help forward The Spiders’ nefarious agenda. Further complicating matters is corrupt deputy director of Swedish security Gabrielle Grane (Norwegian actress Synnøve Macody Lund).
Lisbeth may be a capable heroine, but she will also need more help than her computer hacking skills to combat her foes this time. Aiding in the quest is the return of the aforementioned and new-look Michael Blomkvist (Sverrir Gudnason), and hacking friend Plague (Cameron Britton). And for contrast’s sake, we even get an American in on the action in the form of Lakeith Stanfield‘s NSA security agent Edwin Needham. His motives may be guided more by plot than professional objectivity but Stanfield is a good actor and watching him round out the numbers for Team Salander is undeniably fun.
Álvarez, whose previous film (the mainstream-unfriendly Don’t Breathe) is distinguished for his directorial creativity, certainly isn’t as inspired here even with $43 million to throw around. But Spider’s Web‘s lack of chutzpah might not be entirely on his shoulders, considering the material he’s adapting isn’t quite as politically and intellectually charged as what came before. With the passing of the baton from Larsson to Lagercrantz came a (so I’m told, fairly radical) change of style, the latter doubling down on pulpier action. As has already been proven, Álvarez is adept at spiking the adrenaline, whether that’s an early scene where the girl with a black Ducati vroom-vrooms away in the nick of time across a sliver of ice or a big set piece involving a movable bridge helps her evade capture for just another minute.
Spider’s Web is a classic case of style over substance, Foy’s uniquely restrained performance defiant in the face of all that generic cybercrime stuff. In the end it proves to be a competent action flick but it lacks the depth, both in terms of world-building and what we come to learn about the character itself, to truly qualify as a so-called “new Dragon Tattoo story.”
Recommendation: Your fairly standard action romp elevated by a strong central performance and an appropriately icy setting. Fans of the actress are encouraged to apply while fans of Larsson’s original books might want to take a rain check. Dragon Tattoo 2.0 this ain’t.
Running Time: 117 mins.
Quoted: “Are you not Lisbeth Salander, the righter of wrongs? The Girl with the Dragon Tattoo? The girl who hurts men who hurt women?”
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