Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common.
The success of the her­oine Lisbeth Salander suggests a hunger in audiences for an action picture hero who is not a white 35ish male with stubble on his chin. It has been a fascination with the lean, fierce Salander that draws me into the "Girl" movies. More moviegoers see films on video in some form than ever before -- whether streaming on demand, cable or satellite, instant download services, DVD or Blu-ray. Since he started as film critic for the Chicago Sun-Times in 1967, and began covering movies locally and at international film festivals, Roger Ebert has met and interviewed countless movie idols, artists and unknowns -- some of them even before they became famous.
Roger Ebert has attended international film festivals and events for almost half a century, from the Kolkata International Film Festival to the Academy Awards.
The Cannes International Film Festival is the most talked-about film festival of the year, where directors from around the world showcase their newest work, from the most challenging art cinema to the big blockbusters. The opening shot of a movie can tell us a lot about how to view and interpret what follows. We know horrible things happened to her earlier in life that explain her anger and proud isolation.
You will receive a weekly newsletter full of movie-related tidbits, articles, trailers, even the occasional streamable movie. Even high-profile pictures become available to home viewers before or at the same time as their theatrical release.
There's hardly a major figure in the history of movies, from the last part of the 20th century into the 21st, that he hasn't encountered. In addition to his coverage, our contributors report the latest from Cannes, Telluride, Toronto, Sundance and other movie showcases world-wide. For many years, Roger Ebert and a team of contributors have covered Cannes, and we are continuing that tradition with start-to-finish coverage from around the festival. There are few characters anywhere like Salander, played here by Rooney Mara and by Noomi Rapace in the original 2009 Swedish picture. Of course, both shows are about family, the reliable chaos of closely tethered people rattling around under one roof.
The Opening Shots Project collects illustrated analyses of some of Jim Emerson's favorites, and contributions from Scanners readers. Thin, stark, haunted, with a look that crosses goth with S&M, she is fearsomely intelligent and emotionally stranded. She has an isolated life online, distant relationships with a few other technology geeks and a bleak loneliness.


Both series, in their own particular ways, are keen to the forever shifting resentments, allegiances, and power dynamics of familial life. One of the undercurrents of these movies is the very gradual rapport that grows between Lisbeth and Mikael Blomkvist, the radical investigative journalist. And when confronting the outside world, the series are admirably, stunningly even, attentive to detail and texture, that certain essential spark of life. I've read two of the Stieg Larsson novels, seen all three of the Swedish films and now am back for my third tour through the first story. Make sure to also check out Mirasol's stellar video essay, "Expendabelles."“I got a call in the middle of a movie shoot and it was from William Friedkin. It's an odd feeling to be seeing a movie that resembles its Swedish counterpart in so many ways, yet is subtly different under the direction of David Fincher and with a screenplay by Steven Zaillian. But it was him and he told me that Stallone wanted to star in a movie with me where I would be the straight and cool partner while Stallone would be the unpredictable wildcard.
It has a different air.Fincher is certainly a more assured director than Niels Arden Oplev, who did the 2009 Swedish film. Rooney Mara and Noomi Rapace both create convincing Salanders, but Rapace seems more uneasy in her skin, more threatened.
But the next time I met with him, he had a copy of the script in his hand and slammed it on the table. The elderly millionaire Henrik Vanger (Christopher Plummer), cut off from the mainland on the family island, yearns to know how his beloved niece Harriet died 40 years ago.
Are you saying there is a chance that this might not go?’ He told me, ‘Cynthia, if you get another offer, take it.’ And that was the end of it.
Because apparently neither she nor her body left the island on the day she disappeared, and no trace has ever been found, suspicion rests on those who were there that day, in particular other Vanger relatives whose houses overlook Henrik's from their own isolation.They provide a snaky group of suspects.
I mean I still got paid for it, but I would have liked to have something to show for it.”3."Happy Birthday, David Fincher! It opens on a tense conversation between future Facebook founder Mark Zuckerberg (Oscar-nominee Jesse Eisenberg) and his girlfriend (played by Fincher’s future ‘Girl With the Dragon Tattoo’ star Rooney Mara) that escalates at a rapid-fire pace as Zuckerberg begins to reveal his true colors, causing her to break up with him on the spot -- much to his surprise. Mikael arranges their photos and newspaper clippings and file cards in a collage pinned to a wall and connected with red lines of speculation, but his threads of suspicion seem to lead to … everyone.In this film more than the original, the stories of Mikael and Lisbeth are kept separate for an extended period.
We learn about the girl's state-appointed guardian (Yorick van Wageningen), who abused her, stole from her and terrorized her. Her attempts to avenge herself would make a movie of their own.Zaillian's script comes down to a series of fraught scenes between his leads and a distinctive gallery of supporting characters, given weight by Stellan Skarsgard, Robin Wright and the iconic London actor Steven Berkoff. It’s well known Fincher likes to shoot countless takes to get a scene just right, and in this opener his mad method works wonders.


By providing Mikael with his own small cottage on the island, Henrik Vanger isolates him in a vulnerable situation, which sinks in as he realizes he's probably sharing the island with a murderer. Eisenberg and Mara make the challenging dialogue wholly their own, often speaking over one another, with Fincher’s taut cutting only adding to the dizzying back and forth.
There's also the problem of why Henrik continues to receive watercolors of wildflowers on his birthday, a tradition that his niece began and inexplicably has continued after her death. If you subtract computers, geeks, goth girls, nose piercings, motorcycles and dragon tattoos, what we have at the bottom is a classic Agatha Christie plot.
Lacerating in both its vicious sarcasm and naked anguish, Thurman brings the film to a halt, embodying the outrage of a woman whose entire life has been heartlessly upheaved. Because it worked for me, I suspect it will work better for them, because everything will be new. Rather than sulk into oblivion, she bulldozes her way into the hornet’s nest, albeit with astonishing irrationality, moving her children around like performance art props in order to smother her ex in shame laced with arsenic. If I had a choice of seeing one or the other for the first time, I'd choose the 2009 version.
Even the Swedish dialogue adds to the effect; in English, the characters are concealing secrets but not so uncannily concealing themselves. I remember graduating from college and thinking, ‘There are no social groupings, no social texture in America.’ I’d read ‘War and Peace’ and Tolstoy and Fitzgerald, and they were always describing these societies where people were connected. And it seemed entirely atomized and unfriendly, and there seemed to be no places to go and be friendly with other people. There were just no places in New York to go to that I knew of, and in the ’60s, when were were preppies just beginning to go out, when we were 16, we could go to these tiny little discotheques.
So you could go at, like, nine o’clock and cut a rug on these tiny dance floors, and it was really fun. I remember there was this song, ‘The Hustle,’ and I remember being in an inside bar, and [I] was like It’s coming back — and that was the dawn of how I understood disco.
Sheeran and Sam Shapson's stunning short film, "The Treehouse," will premiere on Vimeo Tuesday, September 2nd.



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