Download the best wallpapers, photos and pictures for your desktop for free only here a couple of clicks! This week sees the wide release of Yorgos Lanthimos' weird satiric drama The Lobster, in which single people need to find love or get changed into animals.
Terence Davies, regarded as one of the greatest living British directors, doesn't make films too often. Last weekend was Mother's Day in many countries worldwide, so I wanted this week's "Have Your Say" to be leaning in that direction.
INTERCHANGE: The Colors And Feathers Dazzle In First Trailer For Dain Said's Supernatural Noir5. INTERCHANGE: The Colors And Feathers Dazzle In First Trailer For Dain Said's Supernatural Noir3. The film centers on a middle-aged journalist who joins forces with a private investigator named Lisbeth Salander to solve a missing persons case that’s been open for decades. The original Swedish version of the movie became an international phenomenon so we’re excited to see what Fincher will do with the material. In his review, Jason Gorber voiced his disappointment about ending up not loving the film, though other people did. The typically sweet, chestnut haired actress who appeared in The Social Network and A Nightmare on Elm Street is currently filming David Fincher’s The Girl With the Dragon Tattoo.
He’s got big shoes to fill but if anyone can properly adapt it for domestic audiences it’s him! She plays Lisbeth Salandar, a goth-punk, rough around the edges type, who’ll push the actress to her limits.

If this statement is taken as a comment on David Fincher doing an American adaptation of Stieg Larsson's insanely popular novel, it is kind of a lie on both counts. Mara covers the latest issue of W Magazine (February) as the character and exposes more than her fair share of skin on the inside.
Lisbeth Salander has indeed done this before (in print of course, and also on celluloid in Swedish), and between Seven and Zodiac, and The Social Network so has David Fincher - and as the latter goes, much better. Having recently watched both Chinatown and Vertigo, any hope for a richly textured and nuanced modern noir, a building of something more than plotting and franchise building, was dashed after the end credits pop up. Lovecraft bathed in liquid crude) you might be tempted to think of the Hollywood production of The Girl With the Dragon Tattoo as some sort of grim James Bond in purgatory.
Daniel Craig in the lead, sporting the finest in European apparel only underscores this; at this point in human history, a smart phone and a macbook petty much make us all super-spies. Given the money and thin subject material, David Fincher (who, let's face it, can do this stuff in his sleep at this point) serves a mighty exercise in craft that amounts to little in the way of depth, rather serving as one-for-them-one-for-me stylistic experimentation.
That is not to say that Dragon Tattoo is Fincher's Oceans 12, but it is at least his Solaris. The sound design is assaultive and occasionally abstract with Trent Reznor's score calling attention to itself, often.
He may have the lion-share of screen time, but it's Mara's Lisbeth Salandar that drives film more than anything. That they form a lasting intimate relationship seems to be the primary goal of an otherwise needlessly protracted denouement.
Needless until you realize that Lisbeth's pining for Blomkvist and a relationship of some kind is what the story is really about, the rest filler.

The characters, either the main ones, or the plethora of single-scene supporting characters, for all the films exposition, never feel like people with sustainable histories. Lisbeth's angry "Fuck-you You Fucking Fuck" T-Shirt sporting hacker comes the closest, if only because she has some semblance of emotional longings (her knack for drug-fueled Gothic lesbian sex notwithstanding). Just when you think the character may be getting somewhere, there is the niggling in the back of the brain that this whole thing is just sexist wish fulfillment.
To thrust fans and novitiates of The Millennium Trilogy into a lurid movie-land of super-journos, super-hackers and vague boogeymen with basement torture chambers that might make Patrick Bateman wince. Speaking of American Psycho, Tattoo does have some expertly executed set-pieces, including one structured around Enya's "Orinoco Flow" that is certainly the films "Sussudio" moment. Equally impressive is a scuffle in a subway station involving an escalator and duffle bag and a shitload of loud foley work. It's a showcase of the directors penchant for terse, boiled-down-to-the-essence on screen action.
He handles all the research through laptops photo galleries, Google, corporate libraries and police archives with, well, the panache of someone who already made the far superior Zodiac. The movie is assembled with fragments of fragments, not just the scenes, but the expertise of the director. Fincher has had his fill of shooting classical and modern Swedish architecture and isn't going to spend his time farting around with this material any further.

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