Underworld: Evolution Blu-Ray Review

Rated R (Pervasive Strong Violence and Gore, some Sexuality/Nudity and Language)

Running Time: 1 Hour & 46 Minutes

Cast-

Kate Beckinsale-Selene

Scott Speedman-Michael Corvin

Tony Curran-Markus Corvinus

Derek Jacobi-Lorenz Macaro

Steven Mackintosh-Andreas Tanis

Shane Brolly-Kraven

Bill Nighy-Viktor

Zita Görög-Amelia

Michael Sheen-Lucian

Brian Steele-William Corvinus

Directed by Len Wiseman

Kate Beckinsale with a gun--every man's fantasy.

Note: Part of the "Underworld Trilogy: The Essential Collection" Blu-Ray set.

After working as a property assistant (someone who acquires and manufactures props in addition to maintaining the physical appearance of a set as reflected by the director’s aesthetic vision) on a number of films from Roland Emmerich during the 1990’s, Len Wiseman made his directorial debut in 2003 with “Underworld,” an action/horror flick starring his future wife Kate Beckinsale. Unfortunately, critical reception was largely negative and many wrote it off as all style and no substance. However, I quite enjoyed the film despite its numerous flaws such as its flat characterization and a story that leaned too heavily on exposition but it introduced audiences to a sexy kick-ass action heroine in a compelling world where unbeknownst to humans, vampires have been raging a secret war with werewolves (called lycans in the film) for centuries. Shot under a modest budget of approximately $22 million, “Underworld” went on to become a mild box office success, earning $96 million worldwide but although a sequel was always intended, it was the strong DVD sales that finally spurred Wiseman to direct a follow-up three years later. “Underworld Evolution” certainly benefits from its increased budget with bigger and bolder action set-pieces but the paper-thin story jettisons much of what made the original so good in favor of characters running from one location to another and pausing only occasionally to sprout even more exposition. Kate Beckinsale remains a credible female action star but not even her presence can save this film from mediocrity. 

During a prologue set in 1202 AD, Vampire Elders Viktor (Bill Nighy), Amelia (Zita Görög), and Markus Corvinus (Tony Curran) arrive at a Lycan-ravaged village in an attempt to capture William (Brian Steele), the first and most powerful werewolf who also happens to be the twin brother of Markus. Although their troops sustain heavy losses, the Elders manage to subdue the now-mindless William but despite Markus’ protests that he was not to be harmed, Viktor decrees that his brother be imprisoned in a secret location for all eternity. Fast forward to the present and picking up immediately after the chaotic events of the first film, former Death Dealer Selene (Kate Beckinsale) takes her hybrid lover Michael Corvin (Scott Speedman) to a safe house before returning to the vampire coven’s mansion to confront the traitorous Kraven (Shane Brolly), who intends to kill the still-hibernating Markus. However, Singe’s blood had unknowingly seeped into his coffin, awakening and transforming him into a monstrous Vampire-dominant hybrid. Markus brutally wipes out Kraven and his men before destroying the mansion to hunt for Selene. Meanwhile, an elderly man named Lorenz Macaro (Derek Jacobi) arrives with a contingent of soldiers to recover the bodies left behind in the aftermath of the battle at the Lycans’ underground lair. He examines Viktor’s beheaded corpse and finds a metal disk attached to his rib-cage. Back at the safe house, Michael struggles to suppress his urge to feed by consuming human food at a nearby restaurant but this fails and he ends up drawing attention to himself from a number of local police officers. Selene manages to rescue him but the two are immediately attacked by Markus, who attempts to steal the gold pendant that was found on Lucien’s (Michael Sheen) body. This pendant is revealed to be the key to William’s prison but Markus is unable to locate it until he feeds on Selene’s blood as the secret is hidden within her memories. He intends to free his twin brother and create a new race of hybrids in a bid for world domination. 

“Underworld Evolution” logically continues from the first film and is best viewed back-to-back as both form one contiguous storyline. However, many of the problems have not been rectified and are carried over in a magnified state as Wiseman tries too hard to top the original with its bigger, louder action set-pieces. The extensive mythos mapped out by the writers was one of the elements that set “Underworld” apart from other genre films, which usually featured throwaway plots, but this ultimately proves to be a detriment in “Evolution” as every character is reduced to being nothing more than mouth-pieces to convey all the details of its overly convoluted backstory. Andreas Tanis (Steven Mackintosh) and Derek Jacobi’s Lorenz Macaro are particularly guilty of this as they are quickly killed off after serving their purposes in the film. Audiences will find it difficult to form any emotional connection as the Shakespearean romance that was so central in the original comes dangerously close to being forgotten in the midst of all the loud action scenes. If one were to take away all the time-inflating exposition, what is left can barely support its one hour-and-forty six minute running time as it is essentially one nonstop chase between various non-descript locations. 

Despite the sequel clearly being inferior and leaving an unsatisfying aftertaste, I admit that I was never actually bored by what was happening on-screen because the action feels less derivative of “The Matrix” this time around. Wiseman utilizes copious amounts of blood and gore from the get-go as the now-transformed Markus makes a splashy entrance, brutally impaling Kraven and his men using the sharp tips of his wings. In fact, the violence makes the first film seem almost tame by comparison. There’s an excellent highway chase scene as Selene and Michael try to escape from a flying Markus before sunrise and the climactic battle is certainly an exciting (and loud) one but disappointingly, its central villains end up being defeated a little too easily even as “Evolution” goes to great lengths to build up the threat they pose. I also preferred the original’s extensive use of practical effects as some of the CG work is sometimes too obvious but the full-body make-up applied on Tony Curran is exceptional given the film’s visually-intensive focus. Cinematographer Simon Duggan maintains the monochromatic black-and-blue palette but the shade is noticeably brighter compared to the previous film. 

Of course, the primary draw of the sequel is the return of Kate Beckinsale and seeing her mow down a Lycan twice her size with an assault rifle or fighting off Markus with just her fists proves to be the highlights of the film, in addition to her perfectly shaped derriere. As such, people viewing this film will not be focusing on her performance but she exhibits more life this time around with a bit of a dry wit to her line delivery. Late in the film, Selene has an emotional breakdown and Beckinsale handles it with aplomb as it is the only time where audiences might come close to feeling something. Scott Speedman fulfills his purpose of looking good while shirtless. He and Beckinsale share a nude sex scene but it feels as if Wiseman included it only to titillate the male audience as it goes on for a little too long. Tony Curran takes a page out of Shane Brolly’s Kraven by overacting and fails to elicit much dread as the main villain whether in human or demonic form but the impressive make-up certainly helps. Derek Jacobi adds a touch of class to the proceedings with an understated performance while Bill Nighy makes the most out of his cameo with his trademark overemphasis on every other word. Finally, there’s Steven Mackintosh as Andreas Tanis but he’s one of those characters that do little besides provide exposition and gets tossed aside ten minutes later. 

“Underworld Evolution” arrived on Blu-Ray as a stand-alone release in June 2006 and as part of a trilogy box set in May 2009. This box set has been re-released to promote the upcoming fourth film “Underworld Awakening” under the label “The Essential Collection” but there’s nothing essential about it since it includes absolutely nothing new besides an extra disc with three throwaway anime shorts (collectively known as “Underworld Endless War”) and an ornate slipcover. No sense in double-dipping if you already own all the films. That being said, “Evolution” sports a stunning video transfer despite being one of the earlier Blu-Ray releases. Shadows have a solid inky depth to them but never envelop detail such as in the opening prologue where the intricate design on the armor is quite visible even when only illuminated by nothing but torches. The make-up effects on Markus shine in high definition but skin tones tend to take on an overblown paleness and exhibits a faint glow. That’s a small gripe though and overall, this is the best the film will look as a new encode will probably not result in much of an improvement seeing as the transfer is already in excellent shape. This is a loud film and the audio proves itself up to the task as your ears will be hit by a sonic barrage of effects from heavy gunfire to a helicopter crashing into the ground in a fiery explosion. Dialogue remains sharp and is never drowned out even during action-heavy scenes. The extras included are once again ported from the DVD with a technical-heavy audio commentary from Wiseman, production designer Brad Tatapolous, second unit director Brad Martin and stunt coordinator/editor Nicolas De Toth in addition to a handful of featurettes amounting to a forty-five minute look at the making of the film. 

Released on January 20, 2006, “Underworld Evolution” received even worst reviews compared to the original with a low 16% on Rotten Tomatoes as critics wrote it off as ‘a visual and aural assault on the senses [that] makes a lot of noise and features a heavy-handed, overly convoluted story.’ Made on an estimated $50 million production budget, the sequel followed in the footsteps of the original and went to become a mild box office success with $111 million worldwide, enough to warrant a prequel three years later. “Underworld Evolution” features everything a sequel should have but in this instance, it is truly all style and no substance with its non-existent story but despite being a thoroughly mediocre effort, the film is never boring thanks to the intense action scenes and Kate Beckinsale’s presence. Fans of the original will be more lenient to its flaws but it is hard not to come away ultimately disappointed.

Final Rating: 2.5 out of 5

“An unknown chapter lies ahead. The lines that had divided the clans have now been blurred. Chaos and infighting are inevitable. All that is certain is that darkness is still ahead. But for now, for the first time I look into the light with new hope...”

Read More

Underworld Unrated Extended Edition Blu-Ray Review

Unrated (Strong Violence/Gore and Some Language)

Running Time: 2 Hours & 13 Minutes

Cast-

Kate Beckinsale-Selene

Scott Speedman-Michael Corvin

Michael Sheen-Lucian

Shane Brolly-Kraven

Bill Nighy-Viktor

Sophia Myles-Erika

Robbie Gee-Kahn

Zita Görög-Amelia

Erwin Leder-Singe

Kevin Grevioux-Raze

Wentworth Miller-Dr. Adam Lockwood

Directed by Len Wiseman

Kate Beckinsale makes vampires cool again in Len Wiseman's "Underworld."

Note: Part of the "Underworld Trilogy: The Essential Collection" Blu-Ray set. 

Kate Beckinsale is an incredibly attractive lady, an opinion not many will dispute, although I do wish she wouldn’t smoke as it is a nasty, unhealthy habit but what can you do? From Sigourney Weaver’s Xenomorph-hunting Ellen Ripley to Carrie Ann-Moss’ leather-clad computer hacker Trinity, Hollywood has had its fair share of memorable female action heroines and now you can add Beckinsale to that growing list thanks to her role as corset-wearing vampire warrior Selene in the “Underworld” franchise, whose fourth installment, “Underworld Awakening,” is set to be released on January 20, 2012. Although the original 2003 film received largely negative reviews from critics upon release, it earned something of a cult following and became a mild box office success, its $96 million worldwide gross and relatively small production budget allowed for a sequel to be green-lit as was the intention anyway given the film’s ending that left much of the plot unresolved. Before Stephenie Meyer’s series of “Twilight” novels enthralled millions of teenage girls and became a box office juggernaut in 2008 with the release of the film adaptation of the first novel, “Underworld” arrived five years earlier with a similar concept in which vampires and werewolves co-existed with unsuspecting humans but that’s where the similarities end. Meyer’s tale focused on a human caught between the affections of a vampire and werewolf while the other was an action-oriented affair where a vampire has a forbidden romance with a werewolf despite the fact that the two species have been at war with each for the better part of six centuries. “Underworld” is an entertaining film thanks to its slick visuals and sexy female lead but the story leaves much to be desired due to the slow pacing and the large amount of exposition that takes place in-between action scenes. Nonetheless I applaud director Len Wiseman for making an extra effort in creating a fully-realized world. 

Despite the death of their leader Lucien six hundred years ago, Vampires are still locked in an eternal war with the remnants of the Lycan (werewolves) horde, with the former employing specially-trained warriors known as Death Dealers to hunt the latter down. In an unnamed rain-drenched European city (actually Budapest, Hungary), two Death Dealers led by a woman named Selene (Kate Beckinsale) are following a pair of Lycans in human form to an underground subway station. The Lycans fire upon the crowds of innocent bystanders, forcing Selene and her brethren to retaliate. The Death Dealers accompanying Selene are quickly killed when one of the Lycans transforms into their werewolf form but she manages to kill the other when he tries to make a break for the subway tunnels. Selene retrieves his weapon and locates a Lycan den when she hears howling deep in the tunnels but is forced to flee when the surviving Lycan chases after her. Returning to the vampire coven’s aristocratic mansion, Selene learns from Death Dealer commander Kahn (Robbie Gee) that the weapon she retrieved contains bullets that emit ultra-violet rays, which are fatal to vampires. She urges the coven’s regent, Kraven (Shane Brolly), to lead an attack on the Lycans’ den but he refuses to believe that there is any danger and demands her to drop the matter. Selene investigates further into the evening’s events and determines that the Lycans are looking for a human named Michael Corvin (Scott Speedman), an intern at a local hospital. Arriving at his apartment, Selene finds Michael under attack by a pack of Lycans led by a seemingly alive and well Lucien (Michael Sheen). Michael is bitten by Lucien but Selene rescues and brings him back to the coven’s mansion to recuperate. The attack at the apartment leads Selene to suspect a conspiracy within the coven ranks, forcing her to break tradition and revive Viktor (Bill Nighy), one of the ancient Vampire Elders, from hibernation. Complicating matters is her growing attraction to an infected Michael and soon Selene will find her loyalty tested where she will be forced to choose between him and her allegiance to the Vampires. 

A stylish action film complete with foreboding gothic visuals, “Underworld” has an intriguing and surprisingly well-developed backstory but the details are often conveyed through overlong scenes of exposition and as a whole, is sloppily paced as the opening minutes unceremoniously dumps the audience into a chaotic action scene with little to no context provided other than the fact that vampires and lycans have been at war for centuries. Vampires are depicted as wealthy aristocrats while the Lycans are a loose guerilla band of rebels living in the sewers. Although the central plot concerns Selene and her attempts to discover the Lycans’ interest in a seemingly unassuming human, the script unfortunately tries to do too much as it has to balance its themes of romance and revenge with an already-complicated backstory that it ends up floundering in both those aspects. I appreciated the Shakespearean approach to Selene and Michael’s forbidden romance but the two only share one meaningful conversation before falling in love. The many lulls in-between action scenes border dangerously close on being dull and tedious as various characters run around scheming or reiterating what the audience already knows. Wiseman and his writers went to great lengths establishing the background lore in order to create a world that felt supernatural yet grounded (vampires and lycans are actually infected with a unique virus) but the way this information is revealed makes the film seem like the middle chapter of a larger story and is one of the rare times in which a prequel is actually necessary. A multitude of themes such as love and loss, honor and betrayal, even racial segregation are touched upon but none are ever explored to its full potential because the film’s focus is too broad. Still, “Underworld” stands out in its attempts to tell a well-realized story compared to similar genre films who are just content with offering nothing more than flashy action and little else. Wiseman does not entirely succeed as the exposition often gets in the way of fully developing the characters but he made the extra effort, which is more than I can say for a number of other directors working in Hollywood. 

The action scenes certainly get the blood pumping (no pun intended) with its stylish choreography but it’s all derivative of “The Matrix” as many of the characters are dressed in shiny black leather costumes with the opening gun battle between the vampires and lycans in the underground subway station highly reminiscent of the famous lobby shootout in that film. Selene even spins around in a circle in slow-motion while shooting the floor with debris flying everywhere in order to make a quick escape from an advancing pack of Lycans. Perhaps due to the limited budget used, the Lycans do not transform into their werewolf form as much as you’d expect but the CG and make-up work is well done. However, this has the unfortunate side effect of reducing many of the battles into non-descript shootouts where it’s hard to tell who’s fighting who, especially during the climatic final minutes of the film. Tony Pierce-Roberts’ cinematography lends “Underworld” a striking look with its subtle blue tint and de-saturated color palette. The entire film takes place in a rain-drenched perpetual night where the sun makes nary an appearance. 

After starring in a number of romantic comedies such as 2001’s “Serendipity” and in Michael Bay’s absolutely horrid “Pearl Harbor” where the director made disparaging comments on her appearance (what is wrong with him?!), “Underworld” marked the first time Kate Beckinsale headlined a major action film and I came away impressed. Her performance can be somewhat flat at times due to the character's icy cool demeanor but Beckinsale is undeniably the film’s most compelling asset despite some of the hammy dialogue and looks damn sexy wearing all that tight leather with guns blazing. Her co-star Scott Speedman seems to have been cast more for his hunky looks as the chemistry between him and Beckinsale is virtually non-existent but this is largely due to the film’s poor handling of their budding romance. Shane Brolly froths at the mouth as the conniving Kraven while Michael Sheen bares a strong resemblance to Jesus as Lycan leader Lucien which I feel is not unintentional if you pay close attention to some the flashbacks. Finally, there’s veteran thespian Bill Nighy, who delivers the best performance as Vampire Elder Viktor with his sudden facial tics and aristocratic way of speaking that befits the film. 

“Underworld” was released as a stand-alone Blu-Ray in September 2007 and as part of a trilogy box set in May 2009. With the impending release of the fourth film, this box set has been re-released under the label “The Essential Collection.” Unfortunately, there is absolute nothing new in this set with the exception of an ornate slipcover and the addition of “Underworld Endless War,” a collection of three anime shorts totaling a mere seventeen minutes and packaged lazily in a paper sleeve. This is the same video and audio transfer as the 2007 release and it holds exceptionally well to this day. Roberts’ cinematography work is accurately reproduced as shadows have a solid inky depth with detail abounding in every scene despite the stylistic use of minimal lighting. Skin tones do take on a pale tinge due to the black-and-blue aesthetic used and the only other color emphasized is the crimson blood splatters during the more violent scenes. This is a reference quality video transfer despite its age and the audio is just as excellent with its diverse soundscape from the heavy barrage of gunfire to the roars of the Lycans that will knock your socks off. Even minor effects like the clinking of shell casings are captured with dialogue always loud and clear. The unrated extended cut is the only version included on the Blu-Ray with approximately twelve minutes of additional scenes that are largely filler material to inflate the already-long running time. Special features are ported over from the DVD in standard definition and include an audio commentary with Wiseman, Beckinsale, and Speedman, plus a number of featurettes totaling 87 minutes that explore the making of the film starting from the script to the visual and sound effects. Finally, there’s an AMC documentary focusing on the various myths and legends surrounding vampires and werewolves over the centuries. 

Released on September 19, 2003, “Underworld” received a thrashing from critics with a low 31% on Rotten Tomatoes with the overall consensus being that it was ‘stylish to look at [but ultimately] tedious and derivative.’ The film grossed $96 million worldwide against a moderate $22 million production budget but it was strong DVD sales that eventually led to a sequel three years later. At first glance, it’s easy to write off “Underworld” as simply ‘all style, no substance’ and while there are a number of noticeable flaws, as a whole, I enjoyed the film more than I should have thanks to the intriguing lore and of course, Kate Beckinsale parading around in badass mode wearing nothing but a tight leather costume. If you still haven’t seen the film, it is worth at least a rental or even purchase if it’s relatively cheap.

Final Rating: 3.5 out of 5

“Though I cannot predict the future, the consequences of this night will reverberate through the halls of both great covens for many years to come. Two vampire elders have been slain, one by my own hand. Soon, Marcus will take the throne, and a tide of anger and retribution will spill out into the night. Differences will be set aside. Allegiances will be made. And soon, I will become the hunted.”

Read More

Mission Impossible: Ghost Protocol Review

Rated PG-13 (Sequences of Intense Action and Violence)

Running Time: 2 Hours & 13 Minutes

Cast:

Tom Cruise-Ethan Hunt

Paula Patton-Jane Carter

Simon Pegg-Benji Dunn

Jeremy Renner-William Brandt

Michael Nyqvist-Kurt Hendricks

Léa Seydoux-Sabine Moreau

Vladimir Mashkov-Anatoly Sidorov

Anil Kapoor-Brij Nath

Josh Holloway-Trevor Hanaway

Miraj Grbic-Bogdan

Tom Wilkinson-IMF Secretary

Ving Rhames-Luther Stickell

Directed by Brad Bird

Don't look down...don't look down...don't look down...

Despite their over-reliance on established film franchises as a major source of box office revenue rather than actually taking the risk of coming up with original, creative new ideas and stories, I must grudgingly admit that I am continuously impressed with Hollywood in keeping said franchises long past their prime with fourth, fifth, and even sixth installments. If you take a look at the top-grossing films of 2011, the first seven are all sequels and this trend is unlikely to change unless audiences vote with their wallets. Now, I am not against sequels, prequels, spin-offs, or even remakes but only if there is a genuine need for one from a creative standpoint unless it was already announced by the studio that there will be a follow-up if the story is too broad to be compressed in a single film such as Peter Jackson’s adaptation of J.R.R. Tolkien’s prequel novel to “The Lord of the Rings” trilogy “The Hobbit,” to be released in December 2012. Unfortunately, this is not the case as sequels are usually green-lit based on how financially successful the original was and often times, audiences end up being fed garbage like “The Hangover Part II.” When Paramount Pictures (who is currently celebrating its 100th anniversary) announced a fourth installment in Tom Cruise’s “Mission Impossible” franchise in early 2010, I was skeptical that any good would come from it as it appeared to be a desperate attempt by the controversial actor to reclaim his box office clout, which has waned since the infamous ‘couch incident’ back in 2005 and his strong ties to pseudo-religion Scientology. Although it received positive reviews from critics, the third film, “Mission Impossible III,” failed to ignite the domestic box office with a lukewarm $134 million and it appeared the series was finished. Not anymore as Cruise is back as IMF agent Ethan Hunt in “Mission Impossible Ghost Protocol,” which has surprisingly received overwhelmingly positive reviews with 93% on Rotten Tomatoes, a franchise best. “Ghost Protocol” does not break any new ground with its largely episodic and pedestrian plot but the film more than makes up for it with several thrilling action set-pieces and suspenseful moments, representing a rare trend where each successive follow-up improves upon the previous film. 

During a prologue set in Budapest, IMF agent Trevor Hanaway (Josh Holloway) is darting across a rooftop while dodging two enemy gunmen. He manages to elude them but is suddenly shot dead in an alleyway by a beautiful blond woman, who takes the satchel that Hanaway was carrying before shooting him a few more times. Former IMF agent Ethan Hunt (Tom Cruise) is currently imprisoned in Moscow when he is freed thanks to the efforts of Hanaway’s team leader Jane Carter (Paula Patton) and newly-promoted field agent Benji Dunn (Simon Pegg). Before making his escape, Hunt also frees fellow prisoner Bogdan (Miraj Grbic), who served as his informant. Jane reveals that she rescued Hunt because she needs him to help recover a package containing nuclear launch codes that Hanaway was carrying before he was killed by an assassin named Sabine Moreau (Léa Seydoux), who plans to sell them to the highest bidder. Hunt accepts the mission and learns that someone codenamed ‘Cobalt’ is attempting to acquire a nuclear launch code device at the Kremlin. Under the disguise of a Russian general, Hunt infiltrates the Kremlin with Dunn to look for information on Cobalt but is forced to abort when someone hacks into their frequency and leaks their location. Hunt and his team barely escape but a large explosion suddenly engulfs and destroys the Kremlin. The attack is blamed on him and his team and as a result, the entire IMF agency has been shut down with its existence disavowed. The IMF Secretary (Tom Wilkinson), accompanied with his chief analyst William Brandt (Jeremy Renner), reveal that it was Cobalt that hacked their frequency and that his true identity is Kurt Hendricks (Michael Nyqvist), a Russian-born Swedish nuclear physicist who is looking to instigate a global nuclear war to restore what he calls ‘ecological balance’ to the Earth by culling the weak. The Secretary informs Hunt that he and his team must stop him at any cost but due to ‘Ghost Protocol’ being initiated, he will receive no backup or support and that if he is captured, he and his team will be branded as terrorists. 

“Mission Impossible,” based upon the popular 1966 television series created by Bruce Geller, is a strangely inconsistent franchise as other than the character of Ethan Hunt each installment has little to do with each other as they contain stand-alone stories featuring a different supporting cast each time. “Ghost Protocol” marks the first time where the main character acknowledges previous events and disproves the long-standing theory that each film takes place in its own separate universe or alternate reality. As with the three films before, the MacGuffin-based plot is relatively straightforward despite its attempt at appearing more complex than it really is with its twists and turns. It feels as if all the locations and action scenes were planned out beforehand with the story thrown together at the last minute, making for its episodic nature as expositional dialogue are delivered in-between set-pieces. J.J. Abrams (who serves as producer this time) tried to develop the character of Ethan Hunt in the third film in order to make him more well-rounded and sympathetic but this approach has been largely jettisoned as “Ghost Protocol” is essentially a 2 hour race-against-the-clock chase around the world. What makes this fourth installment so enjoyable and dare I say, memorable, is Brad Bird’s (making his live-action debut) confident direction in filming the larger-than-life action set-pieces, immersing the audience by playing up the fact that anything could go wrong and keeping them from noticing its by-the-numbers story. Michael Giacchino also helps with a much more heart-pounding score compared to the previous film. In fact, there is so much action and fisticuffs being thrown that the plot comes dangerously close to becoming insignificant and forgotten. 

One of the main issues with the second and third films is that it lacked any iconic/standout action scenes compared to the original where Hunt had to retrieve a computer disk by rappelling down a nigh-impenetrable room that would sound the alarm if he so much as sweats or makes physical contact with the walls and floor. Bird tops that by having Hunt crawl along the reflective windows of the Burj Khalifa, the tallest man-made structure in the world, in Dubai like Spider-Man all in the simple hope of hacking into the building’s server room. He then makes it back to the room his team is residing in by running down the building with a fire-hose tied around him and making a huge leap of faith. Not content with resting on his laurels, Bird follows this up with a visceral car chase through a blinding sandstorm. Describing it as thrilling and suspenseful does not even do it justice and it has to be seen to be believed. I anxiously wait to re-watch these scenes in glorious high definition on Blu-Ray. In a clever nod to the first film, Brandt leaps down a large cooling tunnel with no rope, the only thing keeping him from falling into a deadly turbine and making a bloody mess is a remote controlled vehicle with an oversized magnet and his magnetized chain mail suit underneath his clothes. The large amount of tech on display would certainly make James Bond green with envy, straddling the line between fiction and reality. From screens that project holographic images based on the viewer’s angle of perception to contact lenses that can take photographs and identify hostiles, the toys used add to the fun factor of the film. Let’s not also forget the brutal fight scenes with such highlights including the one between Patton’s Agent Carter and Seydoux’s Sabine and the climactic battle with Hunt and Nyqvist’s Hendricks at an automotive factory. 

The acting is adequate for a film of this type but no one will mistake it as a masterpiece with the dialogue used to keep audiences involved rather than develop the characters beyond their functions. He may be pushing fifty but Tom Cruise remains a credible action star and has always turned in a good performance, even in his less well-reviewed films. Cruise has a certain unexplainable appeal and continues to remain as one of my favorite actors. Honestly, all that attention his off-kilter public behavior received is unfair as people should judge him by his work, not his love life. Although Jeremy Renner’s character was initially believed to be replacing Ethan Hunt, this is not the case but if it does comes to pass, I cannot think of a better actor to succeed Cruise. Renner has the physicality and enough acting chops to be an action star but the final word will arrive once his spin-off “The Bourne Legacy” is released into theaters in August 2012. Paula Patton and Léa Seydoux look incredibly sexy and badass as they go at each other with nothing but their fists. There’s some drama involving Patton’s character but the film spends too little time on it for us to care. Simon Pegg is of the few cast members to return and he provides a nice dose of comic relief that keeps the film from being overly serious. They may not amount to much individually but the cast works well together and have a surprisingly natural rapport. As for the villain, Michael Nyqvist (Mikael Blomkvist from Sweden’s “Millennium” Trilogy) is not as memorable compared to Philip Seymour Hoffman but it’s due to the fact that he has relatively little screen-time compared to other cast members. 

“Mission Impossible Ghost Protocol” had a limited IMAX release on December 16, 2011 before going wide five days later on December 21. Reviews have been overwhelmingly positive with 93% on Rotten Tomatoes as critics hailed it as ‘stylish, fast-paced, and loaded with gripping set pieces, the [film] is big-budget popcorn entertainment that really works.’ Those who saw the film in IMAX will have been treated to approximately thirty minutes of footage shot with IMAX cameras and also a six-minute preview from Christopher Nolan’s highly anticipated finale to the Batman saga, “The Dark Knight Rises.” I did not see the film in IMAX mainly for cost-saving reasons but if you are able, it is the preferred format to experience all that action in its full glory. Shot on a production budget of $145 million, the film has earned $390 million worldwide and counting. It has already surpassed the domestic gross of the previous film and will most likely overtake the original soon. When it comes to plot, “Mission Impossible Ghost Protocol” does not re-invent the wheel but it surely benefits from Brad Bird’s presence with his direction of some of the best action scenes I’ve ever seen. If only every action film was this fun and enjoyable.

Final Rating: 4 out of 5

“Mission ACCOMPLISHED!”

Read More

The Human Centipede 2 [Full Sequence] Review

Not Rated

Running Time: 1 Hour & 28 Minutes

Cast:

Laurence R. Harvey-Martin Lomax

Ashlynn Yennie-Miss Yennie

Vivien Bridson-Mrs. Lomax/Martin’s Mother

Bill Hutchens-Dr. Sebring

Maddi Black-Candy

Peter Blankenstein-Alan

Dominic Borrelli-Paul

Dan Burman-Greg

Kandace Caine-Karrie

Peter Charlton-Jake

Daniel Jude Gennis-Tim

Georgia Goodrick-Valerie

Lucas Hansen-Ian

Lee Nicholas Harris-Dick

Emma Lock-Kim

Katherine Templar-Rachel

Directed by Tom Six

What a way to end 2011 by watching "The Human Centipede 2 [Full Sequence]"!

As a film critic (professional or otherwise), I do not have the luxury of being picky with the types of films that I watch as it is my obligation to present my honest opinion to my readers. The best I can hope for is that my criticism of a particular film inspires mature discussion; whether the reader agrees with me or not is irrelevant as it is, after all, just an opinion. Now, I am not a squeamish person as I’ve seen my fair share of films with…questionable content but director Tom Six’s “The Human Centipede II [Full Sequence]” is such an unrelenting endurance test into the depths of human depravity that it will turn off even the most stoic of viewers. Two years ago in 2009, “The Human Centipede [First Sequence]” became infamous for its unusual premise when it made the rounds at various film festivals. Six’s film gave new meaning to ‘ass to mouth’ as it told the story of a mad doctor kidnapping three victims so he can realize his vision of a Siamese triplet…by surgically connecting their mouths and anuses together! His inspiration for the film came from seeing a child molester on the news, prompting him to joke, ‘they should stitch this guy with his mouth to the ass of a very fat truck driver. It would be a really good punishment for him.’ Reactions to the film ranged from glowing praise to outright revulsion, with Michael Ordoña of the Los Angeles Times declaring in his review as a ‘crime against cinema.’ Whatever Six set out to accomplish, it worked and now we have the equally-controversial sequel that serves as the answer to all those naysayers who complained about the original’s relative lack of blood and gore. “The Human Centipede II [Full Sequence]” feels like a totally different film and while it may be hard to believe, the sadistic violence does serve a purpose but in his attempt to outdo himself, Six has created something that feels little more than a gimmick. Yet it has a certain unexplainable hypnotic quality to its bleak black-and-white imagery and even when the most horrible acts are being committed, you find yourself unable to look away from the screen thanks to the excellent dialogue-less performance of Laurence R. Harvey. 

Asthmatic and overly obese Martin Lomax (Laurence R. Harvey) is a short middle-aged man who works nights as a toll booth collector at an underground parking garage somewhere in the UK. He lives in a small flat with his elderly mother (Vivien Bridson) who hates Martin’s very existence and frequently voices her desire to kill him and herself. It is heavily implied that his father (who is currently in prison) sexually abused him when he was a child. Martin’s only source of happiness (and pleasure) comes from watching Tom Six’s “The Human Centipede [First Sequence]” on an endless loop while he works at his toll booth. He keeps a centipede as a pet and a scrapbook on the film under his bed. His only visitor is the lecherous Dr. Sebring (Bill Hutchens), who reassures Martin’s mother that he is going through ‘a phase’ and that it will pass. The lines between fantasy and reality begin to blur for Martin as he takes his obsession with Six’s film to new extremes by brutally kidnapping twelve people and creating his own ‘human centipede’ at a dingy warehouse. 

“The Human Centipede II [Full Sequence]” is billed as ‘100% Medically Inaccurate’ and the amount of blood and fecal matter on display makes the original film look relatively tame as it serves as a response to all those viewers who were expecting an all-out gore fest but came away disappointed. As I was watching the film, it almost feels like Tom Six is gleefully daring audiences to see if they can make it through to the end credits. I must confess that the version I saw was edited with approximately 2 minutes and 37 seconds of scenes excised in order for it to be released into theaters. The full uncensored version that premiered at Fantastic Fest 2011 back in mid-September at Austin, Texas is currently available on Bounty Films’ website for rent or download but unfortunately, it is restricted to UK and Australian citizens only, which is ironic considering the fact that both countries initially banned the film from being shown in cinemas. I do not approve of any form of censorship against films (or media in general) as people should have the right to choose what they want to watch but regulatory organizations such as the British Board of Film Classification (BBFC) feel it is their ‘responsibility’ to protect the public from material that would be considered ‘obscene.’ Violent or objectionable content in media often spurs complaints from watchdog groups that it will inspire copycats and the sequel uses that as its inspiration with Martin attempting to make his own human centipede. I find it admirable that Six wanted to challenge his critics by utilizing a meta-narrative device but in his attempt to outdo himself and give the audience what they clamored for, all the commentary and subtext ultimately gets lost in a sea of dehumanizing, sadistic violence and that’s the reason why this sequel is inferior. Looking at the film at a more technical level, the editing this time feels haphazard and amateurish compared to the original but I believe it is Six’s attempt to give it more of an ‘underground’ vibe. The black-and-white style does seem at odds with the sequel’s intentions but I admit it exudes a bleak, oppressive atmosphere that wouldn’t be possible in color. There’s a sense of hopelessness to what is happening and has a gripping, hypnotic effect that it’s impossible to turn away. Say what you will about Tom Six but he certainly has a way of drawing the viewer in and keeping them immersed in this depraved world he’s created. 

As for the violence, I just know you’re curious so I’ll give a brief rundown of the highlights. A woman gets repeatedly hit with a crowbar in the head and we see the gory aftermath with her skull smashed to bits. Martin uses a hammer to knock everyone’s teeth out and uses a rusty pair of scissors to cut off their tendons to keep them from escaping. To connect all his victims, he bloodily slices open their buttocks and staples their faces to the next person’s anus. He injects laxatives into everyone and the fecal matter expelled splashes onto the screen in the film’s single use of color. Last but not least, a woman’s tongue is forcibly removed with a pair of pliers and the tail-end of the centipede is brutally sodomized by Martin with a piece of barbed wire wrapped around his penis (implied in the edited version). This is only the edited version as the uncensored one includes a newborn infant having its skull graphically crushed against a gas pedal by its own mother who is desperately trying to escape. Knowing all this, would you still watch the film? This I leave up to you, the reader, to decide. 

Dialogue is kept to a minimum in the film and the acting is on the amateurish side as everyone exaggerates with all the expletives. I must say, I am impressed by Six being able to gather such a cast willing to strip down naked and then crawl on all fours while having their heads taped to another person’s rear end. The one performance that really stands out is Laurence R. Harvey, who inspires pity and disgust at the same time. I have no idea where Six found him but he apparently worked in children’s television and theater so there’s a bit of irony seeing him in a film like this given his previous roles. During his audition, he admitted that he flipped a chair upside down to mimic raping someone as Six wanted to challenge him. From interviews, he comes off as a friendly chap but on film, his mere blank stare inspires chills. This is the birth of a horror icon. None of the original cast returns with the exception of Ashlynn Yennie, who is playing an exaggerated version of herself. 

“The Human Centipede II [Full Sequence]” had a limited theatrical release on October 7, 2011 and will be available on DVD and Blu-Ray on February 14, 2012, which is ironically Valentine’s Day. For those living in New York City, the only theater that showed the film was the IFC Center and they were only doing midnight screenings. I have no information on its production budget but it was reportedly similar to the first film. Either way, its low box office earnings ($123,043 domestic) shouldn’t be a problem as it’ll break even as a home and video-on-demand release. Reception has been negative with 31% on Rotten Tomatoes as critics concluded the sequel ‘attempts to weave in social commentary but as the movie wears on, it loses its ability to repulse and shock and ends up obnoxious and annoying.’ Roger Ebert wrote in his own review that it was ‘reprehensible, dismaying, ugly, artless and an affront to any notion, however remote, of human decency’ and awarded the film zero stars compared to the non-rating of the original. I will not be surprised if most people have this type of reaction and there’s nothing wrong with that but for me, it’s impossible to quantify my feelings with an arbitrary score. I appreciate Tom Six’s talent in making the film but whatever he wanted to say was lost in the sea of relentless violence so the only comment I can make without hesitation is that this sequel is inferior to the original. Whether you hate it or love it though, “The Human Centipede II [Full Sequence]” will be talked about for a long time to come.

Final Rating: N/A (Does not mean 0 out of 5)

*No line here since much of the film is dialogue-less.*

Read More

Sherlock Holmes: A Game of Shadows Review

Rated PG-13 (Intense Sequences of Violence and Action, and Some Drug Material)

Running Time: 2 Hours & 9 Minutes

Cast:

Robert Downey Jr.-Sherlock Holmes

Jude Law-Dr. John Watson

Jared Harris-Professor James Moriarty

Noomi Rapace-Madame Simza Heron

Rachel McAdams-Irene Adler

Stephen Fry-Mycroft Holmes

Kelly Reilly-Mary Morstan Watson

Paul Anderson-Colonel Sebastian Moran

Eddie Marsan-Inspector G. Lestrade

Geraldine James-Mrs. Hudson

Directed by Guy Ritchie

Sherlock Holmes faces off against Professor James Moriarty in "Sherlock Holmes: A Game of Shadows."

Exactly two years ago in 2009, director Guy Ritchie struck gold by re-imagining Sir Arthur Conan Doyle’s famous literary detective Sherlock Holmes as a bona-fide action hero in a film that became a surprise hit among modern audiences, owing much of its success to Robert Downey Jr.’s energetic portrayal, who imbued the lead character with a likable roguish wit and charm. “Sherlock Holmes” did extremely well at the box office with a final worldwide gross of $524 million, impressive considering that it faced stiff competition from James Cameron’s 3D visual spectacle, “Avatar.” A sequel was all but expected considering the first film concluded with one of its subplots deliberately left unresolved, leaving Ritchie with the challenge of making a follow-up that not only retains the fun thrills of the original but also raises the stakes and action set-pieces. While “Sherlock Holmes: A Game of Shadows” is an intermittently enjoyable flick that wisely retains the sarcastic banter between its two leading men, it ultimately disappoints and makes for a hollow viewing experience as it suffers from the same flaws that plague most modern sequels in its weak attempt to hide a lazily-written story under a veneer of flashy fight scenes and loud explosions. 

Dr. John Watson (Jude Law) is dutifully recounting an adventure he had with his at times irritatingly good friend and comrade-in-arms Sherlock Holmes (Robert Downey Jr.) in 1891 on his typewriter, revealing that Europe was on the brink of war after suffering from a series of bombings perpetrated by an unknown group of anarchists. Holmes, in an ill-conceived disguise, is stalking his sometimes lover and enemy Irene Adler (Rachel McAdams), who is delivering a package to a wealthy doctor named Hoffmanstahl in exchange for a sealed letter. Hoffmanstahl believes the package to be his compensation but it is revealed to be a bomb, which Holmes quickly disposes of while Adler makes a quick escape. He realizes in the confusion that the doctor has been killed by a small poisonous dart that induces a heart attack. Adler arrives at a crowded teahouse to meet with Professor James Moriarty (Jared Harris), the criminal mastermind behind the events of the first film. She tries to explain what happened but Moriarty poisons her as she had been compromised by her feelings for Holmes. Meanwhile, Watson arrives at 221B Baker Street to remind Holmes that he is getting married to Mary Morstan (Kelly Reilly) the next day and should head out for his stag party. Holmes reveals that he is currently working on the single most important case of his career and that recent events have all been tied to Moriarty, although he does not yet have sufficient evidence to bring him to justice. At the party, which includes Holmes’ equally sarcastic brother Mycroft (Stephen Fry), Watson is disappointed that none of his friends have been invited and sulks off to the gambling tables. Holmes, however, is there to meet with a gypsy fortune teller named Simza Heron (Noomi Rapace) and gives her the letter he stole from Adler. He asks for Simza’s help in locating her brother Rene, who is the author of the letter and is the only lead Holmes has on Moriarty. Holmes defeats a Cossack assassin sent to kill Simza but she escapes during the confusion. After Watson is married and sent off to his honeymoon with Mary, Holmes finally meets face-to-face Moriarty. The two admit their admiration for each other but Moriarty warns that if Holmes does not desist from interfering with his plans, he will begin to target those closest to him. Assassin’s sent by Moriarty attack Watson and Mary on the train to their honeymoon but Holmes had already stowed aboard in another inept disguise. The duo manage to escape after a huge firefight and they embark on their final case together in order to stop Moriarty from instigating a ‘world war’ among the nations of Europe. 

“Sherlock Holmes: A Game of Shadows” is a lazy sequel that rests on the laurels of the original film, with an ill-conceived script that makes no logical sense and is little more than an excuse to string along a series of loud action scenes while pushing its characters from point A to point B, as if it was in a rush to be over. Despite the promise of such a well-known villain from Doyle’s stories, Moriarty’s ultimate plan is surprisingly banal given the way the film makes him out to be some grand-scheming sociopathic genius. Ritchie, with writers Kieran and Michele Mulroney, attempt to thematically connect the plot with the uncertainty of today by having Moriarty fund a group of anarchists (or terrorists) to sow the seeds of conflict for a war between the European nations. His goal is to reap the profits from the war since he owns much of the weapons manufacturing industry. These ideas show promise but when implemented into the story, it comes off as half-baked as nothing meaningful is being said. Plot points are often blatantly telegraphed in the dialogue and Holmes’ deductions border on deus ex machina by treating the audience as idiots with long-winded explanations. The humor is largely hit-or-miss and often tries too hard to elicit laughs. Ritchie’s steampunk-inspired visuals are well done on a technical level but the flashy action scenes soon grow tiresome with its overuse of slow-motion in order to showcase random objects splintering into a million pieces or Holmes planning out his fights in his mind. However, it was a nice change of pace to have Holmes and Moriarty wage a climactic battle of wits over a game of chess during the final twenty or so minutes of the film. Such a game feels befitting for two geniuses who reside on opposite sides of the same coin but unfortunately, it’s a case of too little too late. 

“A Game of Shadows” wisely retains the sarcastic banter between Holmes and Watson, the original dynamic duo, and this can largely be attributed to the rapport Robert Downey Jr. and Jude Law share. At times, Downey Jr.’s performance borders on parody with his wordy witticisms and increasingly ridiculous disguises but he remains as one of the few bright spots of the film because he’s clearly enjoying himself in the role and is complemented so well with Law’s more understated acting. The weak script however does not afford any opportunity to develop their characters since it’s in such a rush to move to the next location. Rachel McAdams is quickly done away with in the first fifteen minutes and Noomi Rapace is simply wasted in her American debut as she often just stands in the background staring into space and having little to say. Jared Harris is deliciously evil as Professor James Moriarty and the best scenes are when he and Holmes try to outdo each other with nothing but their intellect. Disappointingly, there are far too little of these scenes. Stephen Fry rounds out the cast as Holmes’ equally eloquent brother Mycroft but he serves as little more than comic relief. 

“Sherlock Holmes: A Game of Shadows” was released on December 16, 2011 to mildly positive reviews with 59% on Rotten Tomatoes. Critics found the sequel to be ‘a good yarn thanks to its well-matched leading men but overall stumbles duplicating the well-oiled thrills of the original.’ Despite the enthusiasm exhibited by audiences for the first film, “A Game of Shadows” has been under-performing at the domestic box office, with a weekend gross of $40 million compared to the original’s $62 million. The previous film also had to contend with “Avatar” but although the sequel will earn less, it should make back its estimated $125 million production budget and turn a sizable profit to warrant a third entry, as was intentioned judging from the ending as once again a plot thread is left unresolved. Box office analysts have been trying to explain away the current slump and while the dismal economy does factor in, the answer is more obvious as the pre-release advertising for “A Game of Shadows” just showcased more of the same. Hollywood is currently so afraid to even attempt anything new for fear of losing money. “Sherlock Holmes: A Game of Shadows” benefits from the camaraderie exhibited by Downey Jr. and Law but this sequel is ultimately an exercise in pointlessness with its nonsensical script and hollow action scenes.

Final Rating: 2.5 out of 5

“They're dangerous at both ends and...crafty in the middle. Why would I want anything with a mind of its own bobbing about between my legs?”

Read More

The Girl with the Dragon Tattoo (2011) Review

Rated R (Brutal Violent Content including Rape and Torture, Strong Sexuality, Graphic Nudity, and Language)

Running Time: 2 Hours & 38 Minutes

Cast:

Rooney Mara-Lisbeth Salander

Daniel Craig-Mikael Blomkvist

Robin Wright-Erika Berger

Christopher Plummer-Henrik Vanger

Stellan Skarsgård-Martin Vanger

Yorick van Wageningen-Nils Bjurman

Joely Richardson-Anita Vanger

Geraldine James-Cecilia Vanger

Steven Berkoff-Dirch Frode

Donald Sumpter-Detective Gustav Morell

Goran Visnjic-Dragon Armansky

Embeth Davidtz-Annika Giannini

Tony Way-‘Plague’

Ulf Friberg- Hans-Erik Wennerström

Per Myrberg-Harald Vanger

Bengt C.W. Carlsson-Holger Palmgren

Elodie Yung-Miriam Wu

Joel Kinnaman-Christer Malm

Directed by David Fincher

Rooney Mara delivers an intense performance in David Fincher's remake of "The Girl with the Dragon Tattoo."

When was the last time you saw a Hollywood film featuring an original idea? Off the top of my head, I can only think of merely one, Christopher Nolan’s brilliant science fiction action/heist flick “Inception,” but that was released a year-and-a-half ago and since then Hollywood has unloaded numerous films upon an ever-dwindling audience that was either an adaptation, sequel, remake or some combination of the three. Don’t get me wrong, people still go to the movie theater in droves but with films that more often than not fail to deliver on its hype and increasing ticket prices year-after-year, many are just waiting out the extra three or four months and watching it in the comfort of their own homes without the extra headache. I myself often wake up bright and early to catch new releases at matinee prices. One of the current trends plaguing Hollywood is the remake and many of them have ended up as critical box office bombs, yet this has not deterred clueless studio executives from trying to make a quick buck, however little. I am not opposed to remakes but it ultimately comes down to the creative force behind them. Again off the top of my head, Matt Reeve’s 2010 “Let Me In” was a worthy remake that can stand proud with the Swedish 2008 original “Let the Right One In” but it’s a sad state of affairs when only one film comes to mind. Despite what you may believe, Hollywood does not have a high opinion of its audience and there oft-used excuse for remaking otherwise great foreign films is to ‘broaden its appeal,’ meaning that western viewers are too lazy and stupid to follow the subtitles so we’re making it easy by simplifying everything for you. So when Columbia Pictures/Sony announced an English-language remake in early 2010 of Niels Arden Oplev’s “The Girl with the Dragon Tattoo” from Sweden, itself an adaptation of Stieg Larsson’s 2005 critically-acclaimed novel and the first part in his Millennium Trilogy, I was very skeptical and echoed Oplev’s thoughts, ‘Why would they remake something when they can just go see the original?,’ which was released only two years ago in 2009 to rave reviews and earned $104 million at the worldwide box office but of course, in the United States, it barely registered as a blip since Hollywood has brainwashed the masses into thinking themselves incapable of reading subtitles. It all seemed like a cash-grab…until David Fincher came along and once the first publicity photos began to trickle out, my confidence and anticipation for the film grew. Having finally seen the film, Fincher’s “The Girl with the Dragon Tattoo” is less a remake and more of a new interpretation despite treading the same material and while there are some minor flaws in compressing the numerous subplots, the end result is one of the best films of 2011 with the director putting his own personal stamp on the project from the viscerally surreal opening credits to the ominous droning beats of Trent Reznor and Atticus Ross’ score. Lisbeth Salander, so brilliantly realized by Noomi Rapace in the original films, is once again brought to life with an awards-worthy performance from Rooney Mara, who throws herself into the role with such wild abandon that it renders her virtually unrecognizable, looking dangerous and beautiful at the same time. Steven Zaillian’s script is both faithful to the novel and expertly-paced, upping the suspense and tension even if you know how it all ends. 

Investigative journalist and co-owner of Millennium magazine Mikael Blomkvist (Daniel Craig) has just lost a much-publicized libel case against wealthy industrialist Hans-Erik Wennerström (Ulf Friberg), for which he must pay 600,000 Swedish kronor (approximately $87,000) in damages to avoid jail time. Meanwhile, brilliant but socially withdrawn hacker Lisbeth Salander (Rooney Mara) is assigned by Milton Security to compile an incredibly extensive background check on Blomkvist for lawyer Dirch Frode (Steven Berkoff). Frode works for the wealthy Henrik Vanger (Christopher Plummer), the retired CEO of Vanger Industries, who wants to enlist Blomkvist’s help for a job despite the recent scandal. Henrik invites Blomkvist to his estate on Hedeby Island in Hedestad and asks him to solve the murder of his great-niece Harriet Vanger, who disappeared without a trace almost forty years ago. He believes the killer to be one of his family members as he receives a package of a framed pressed flower on his birthday every year, something that Harriet used to give him when she was still alive. Blomkvist is at first reluctant to take the job but when Henrik promises him a substantial fee and information on Wennerström, who used to work for him, he agrees. Back in Stockholm, Lisbeth, a ward of the state, discovers to her shock that her guardian, Holger Palmgren (Bengt C.W. Carlsson), has suffered a debilitating stroke. She is assigned a new one, Nils Bjurman (Yorick van Wageningen), who takes immediate control of Lisbeth’s finances and blackmails her into performing sexual favors for him in exchange for money. Lisbeth eventually exacts revenge on Bjurman after he brutally rapes her. At the same time on Hedeby Island, Blomkvist methodically follows-up on every known clue on Harriet’s disappearance but when he accidentally stumbles upon a new lead, the first one in four decades, he recruits Salander in bringing the killer to justice. 

Both Fincher and Oplev’s adaptations remain faithful to Larsson’s novel but differ in subtle details. The Swedish films were originally edited from the television mini-series, with each book divided into two ninety minute episodes so the pacing is certainly better with Fincher’s version as Zaillian only had to write for one medium. Despite a lengthy 2 hour and 38 minute running time, the film remains an absorbing experience even when it does inspire déjà vu at times because Fincher actually brings something new to the table as opposed to all the other lazily cobbled-together remakes that Hollywood sees fit to release year-after-year. For one, the surreal opening credits has numerous bodies covered in an inky black liquid screaming and writhing in agony as they are entangled by an infinite number of computer cables while Karen O’s (of the indie rock band Yeah Yeah Yeahs) rendition of Led Zeppelin’s Immigrant Song blares in the background. Using his background in music video directing, Fincher sets the tone that establishes that this “Dragon Tattoo” is his film, not a simple remake. The opening is also highly reminiscent of a number of James Bond films, which is ironic considering the inclusion of Daniel Craig. The film also has more of a distinctive cinematic look compared to Oplev’s version, which can come off as too workmanlike at times, as every scene is framed with blue or sepia tint that emphasizes the literal and figurative isolation of its characters. The novel’s themes of sexual violence, corrupt authority figures, and the dark impulses of human nature often hidden by a genial façade fit into many of Fincher’s works such as 1995’s “Se7en” and 2007’s “Zodiac.” Zaillian’s script wrings every ounce of suspense and tension as the central mystery slowly unfolds but it does stumble in two key areas, one of which lies more at the fault of the source material. The revelation of who the killer is occurs at the two hour mark like in Oplev’s film and it’s a brilliant conclusion as any but there is a lengthy epilogue that serves to tie up all those pesky loose ends. Unfortunately, the condensed plotting during the last thirty minutes in Fincher’s film feel rushed and while it is not enough to derail the momentum built up, the ending is ultimately not as satisfying, even if is more faithful to the novel. To be fair though, the extended edition of “Dragon Tattoo” from Sweden ends in a similar fashion but it had the luxury of a three-hour running time, a rarity for a mainstream Hollywood production. The complicated relationship between the two leads also lacks credibility as it is never made clear as to why a girl like Lisbeth would be attracted to someone like Mikael. Nyqvist’s Mikael exhibited warmth but Craig looks too imposing and confident despite the film’s attempts to give him an unkempt appearance. Ultimately, these issues, while noticeable, aren’t enough to undermine the film and if Larsson was still alive today, I sincerely believe that he would be proud to have inspired two excellent adaptations of his novel. 

Although Daniel Craig is afforded the most screen-time, it is Rooney Mara that makes the film so compelling and it’s even more impressive considering that her career is still in its relative infancy. Comparisons between Mara and Noomi Rapace are ultimately pointless as both give memorable and intense performances that focus on different aspects of the same character. Rapace’s Lisbeth keeps her feelings close to her chest and is more emotionally fragile while Mara emphasizes her feral-like rage, like a ticking time bomb waiting to explode. Her thin frame and albino-like complexion makes Mara’s Lisbeth appear to be death incarnate and the way her hood hides her face borders on supernatural at times. There’s even a seductive quality to Lisbeth even if she defies all conventions of feminine beauty. As for Craig, he lends a sense of desperation as Blomkvist, who views the case as a way to redeem himself and restore credibility to his name but I cannot help feeling that a lesser-known actor would’ve served the role better as he looks too heroic to be a simple journalist but there’s nothing inherently wrong with his acting per se as my gripe comes down to a matter of personal preference. The supporting cast does not feature anyone as recognizable as Craig, with the exception of Stellan Skarsgård, but it is readily apparent that Fincher was very careful in choosing his actors and actresses for even the smallest of roles as all of them do an excellent job. 

Released on December 20, 2011, “The Girl with the Dragon Tattoo” has received critical acclaim that’s on par with Oplev’s film with 85% on Rotten Tomatoes. Critics hailed it as ‘brutal yet captivating…the result of David Fincher working at his lurid best with total role commitment from star Rooney Mara.’ Despite being backed by a massive marketing campaign and the novel’s popularity, the film has been underperforming at the box office, which may put the sequels in jeopardy but Fincher has stated at a press conference that he plans to shoot the second and third films back-to-back as they are essentially one story but as of right now, nothing has been officially announced. Having earned $32 million domestic so far, the film will make back its $90 million production budget and turn a profit once international grosses are factored in but a likely reason as to why it hasn’t being doing as well as expected is that the intended audience is for adults and unlike teenagers, they are more discerning about which films they want to pay to see. While there are some minor issues in condensing Larsson’s already-lengthy novel, David Fincher has crafted an excellent adaptation of “The Girl with the Dragon Tattoo” that can stand proudly alongside Oplev’s film even if it cannot entirely escape its shadow. As far as personal preference goes, I do enjoy the Swedish one more partly because it offers a more authentic viewing experience but look at it like a two-course meal. Oplev may have been the main course but Fincher is the dessert and what a delicious one it is.

Final Rating: 4.5 out of 5

“Rape, torture, fire, animals, religion…am I missing anything?”

Read More