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Boxing Day 2011 saw the release of two distinctly different, yet inherently connected pieces of mainstream American cinema.


The ace-up David Fincher’s sleeve when it comes to The Girl With The Dragon Tattoo might just lay in his casting of James Bond himself, British actor Daniel Craig in the lead male role in the film.
The Girl With The Dragon Tattoo was also released on Boxing Day, and is on general release.
Abrams direction Mission: Impossible 3) as the most satisfying work in that particular franchise, and both come recommended. It’s also apt that both films saw release on Boxing Day, the perennial and traditional day for sitting back and taking in a Bond film in the UK. The modern (post-1996) Mission: Impossible franchise may not stem from the literary, yet its television show beginnings are quite easily the pulp equal of anything released in paperback.


That it is Salander who’s person leads the films final act chase, and to such a removed end (geographically) from the one involving the male archetype is significant too, shifting the dynamic wholly. As is the case with all of the Mission: Impossible films, a new director is employed on each subsequent film, theoretically providing each instalment with a disparate voice, unique from the film before it and the one that will presumably follow (with the only constant being the presence of star Tom Cruise, of whom there is a strong case for his role as auteur to be made elsewhere). With this fourth film Brad Bird has further separated the visual identity of his film from the ones that have gone before by shooting large sections of the film utilising IMAX cameras, building on the aforementioned notions of scope and scale.



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