"Millenium: What Does not Kill Me": a disappointing continuation.
Literary successes, even colossal, do not necessarily have to be translated into film wins. Proof s Fifty shades of Gray or saga Millenium, The Three Hundred of Cult Novels by Stieg Larsson, 80 million copies, resulted in a Nordic trilogy and Hollywood adaptation that attracted very few people in theaters.
With this fourth part, director Fede Alvarez decided to opt for change, not for continuity. New actors, the new author (David Lagercrantz took the pencil of the late writer) and a series change course, this time focused on Lisbeth Salander. Incorporated with the shine of the star of the series Crown, Claire Foy. Less wild than before, but still rebellious, hated hacker has not given Mikael Blomkvist news for years. Because she betrayed her writing about her more than about the research carried out together. But this time he needs it. Frans Balder, the creator of a revolutionary program designed to take control of all the world's nuclear warheads, calls on her to steal her invention from American secret services and destroy her.
The first step is just a breeze for her. The other, on the other hand, proves a terribly difficult situation. Because of her lazy fire, Lisbeth missed a meeting with Balder. Who sought the protection of the Swedish authorities?
Lisbeth is on her country's police path, specialty Yankees and terrorist organizations in close contact with her own past. Emotionally and physically, the temptation is terrible. Without a journalist, his chances of fleeing a flirt with the characters he showed in the winter thermometer in Stockholm.
The second positive point is the use of Swedish capital as a backdrop for action. It gives a note of authenticity, sharpness and creates a cold atmosphere of the film. Or the development of new technologies in the final scene that horribly marks the bastions of James Bond.
The property, unfortunately, has slightly damaged a very well arranged plot and psychologically very basic acolytes. We feel the influence of Hollywood cinemas at the show level (that's pretty good) and protagonists, very monolithic (unfortunately). The wicked are stupid and cruel, and the pagans are inventive. The size of the tape (way to escape from the airport or to be saved from certain death by poisoning, for example) is also beyond understanding, so the surprise is rarely at a meeting that should be suspended.
In the end, that's uncomfortable "All this for it" who wants to win. This fun can be seen as a video game, but it does not pack, does not nail on a chair, does not create questions about human nature, and does not vibrate any sensitive or nostalgic chord. What does not kill me did not show up millennium stronger. Disappointing, even if Claire Foy really has a profile to become the new Queen of Hollywood.