demoncleaner
Posts: 2166
Joined: 3/10/2005 From: Belfast
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Probably my most moaned about film of the last two years. My quandary was to do with how upset and depressed I was by the original next to how much I dig Fincher, and how I had long ago vowed to see all his output on the screen they call big. Even the thought of sitting through this tale again was exhausting. So the full marks given here is really tied to the result; pretty much a true opposite to the frayed expectation. I sat through this conscious of a polite and mild mannered form of elation – I blame the ridiculously out of place title sequence with its ridiculously sustained enthusiasm. As orgiastic and unsubtle as it was it's right up my strasse – Fincher, Reznor, a Bond title-sequence fetishised by a serial killer, great stuff altogether. Perhaps it set the tone for me. What I said about the original film is that it upset me without anything to mitigate it. It was unremitting, which wouldn't be a bad thing, but it does remain a bad thing when what you're dealing with essentially is airport fiction. Tat. Here, we get the mitigation, and it's all in the poise and in the elegance in the way it's mounted. There might be some jiggery-pokery in the edit but Fincher's shot for shot direction is efficiency fore-most; I'm a fan because you always get the sense that you've seen something visually pleasing with him, but when you really look at the piece you can also see the egregious simplicity of it. So I think a reputation of being “slick” is unwarranted and it's really just a case of being expert. And I thought this was bloody expert. I won't dispute the redundancy of the US large print version. It is totally redundant. Its reason for being is superficial and so I suppose applauding it has to come from some superficial style-obsessed angle as well. And for this, I'm happy to admit this is most likely where I'm coming from. But dude, it's kinda like Total Cinema man, every facet of film making it calls upon really, really works for it. What isn't superficial about the remake is probably the wry kick its director got out of attributing the perfect excuse to put R-rated imagery back into mainstream cinema. The 2011 Girl With The Dragon Tattoo is a half a revisitation of Eighties crass sex inflected thriller mixed with the wherewithal of Seventies procedural. Fincher is the type of wry bastard that has views on the former and a love of the latter, so no wonder he can convey and sustain such enthusiasm for this thankless iteration. Ultimately, for me an anticipated chore became an abject pleasure. So for that, I give it... 5/5
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"I know the meaning of life, it doesn't help me a bit."
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