Review: The Girl With the Dragon Tattoo

In the beginning there was only a book, but let's start with the ending. THE GIRL WITH THE DRAGON TATTOO (2011) wraps up with what can only be interpreted as a prologue to a sequel. The movie's elaborate cold case puzzle plot has long since been pieced together when our socially challenged goth heroine Lisbeth Salander sets a new revenge plot in motion. Since we're already past the two hour mark, we race through this whole new story with the speed usually reserved for Lisbeth's midnight motorcycle rides. New beginnings, middles, and endings race by us like blurry highway markers. What just happened? How satisfied the movie leaves you will surely depend on whether or not you'd like to stay in your seat waiting for the next hellish chapter to unfold. 

Millions of people have eagerly flipped pages for all of the hellish chapters of the worldwide best selling "Millennium" trilogy. The Swedish literary phenomenon has already spawned three homegrown films starring Noomi Rapace (now co-opted by Hollywood for the new Sherlock Holmes movie). It's time to crack the book open again with the American version by David Fincher (The Social Network). We're jumping around in time because the experience of the movie, and this franchise in general, is also one of chapters, false starts, and piecemeal reveals.

Read the rest at Towleroad...

P.S. FWIW I'd rank David Fincher 's work like so. (I'm fully aware that I like Alien³ far more than most human beings and his biggest hits far (That'd be Benjamin and I'm presuming Dragon Tattoo) far less. And yeah, I threw in the Madonna & George Michael vids cuz they're masterpieces of the form. 

• THE GREATS: The Social Network (2010), "Express Yourself" (1989), Se7en (1995), "Vogue" (1990), "Freedom" (1990),  Zodiac (2007), "Oh Father" (1990)
• THE GOODIES:  Fight Club (1999), Panic Room (2002),  Alien³ (1992) "Bad Girl" (1992) and all the other music videos. He was such a master at those... 
• THE ONES I'M COOL ON THOUGH THEY HAVE THEIR INDIVIDUAL MOMENTS BECAUSE HE'S SUCH A SUPERB VISUAL STYLIST: The Curious Case of Benjamin Button (2008), The Girl With the Dragon Tattoo (2011) and The Game (1997)

London: Early One Morning, Snowtown and Last Screening

Craig here (writer of Take Three) reporting for Nathaniel from the BFI London Film Festival. Today's round-up features three dark explorations into violent minds. Perfect for Halloween week then!

If disquieting French drama Early One Morning were a comedy it would need to hijack the title of another recent office-based film: Horrible Bosses. The financial suits upstairs are the cause for middle-aged everyman-exec Paul’s (played to fraught perfection by Jean-Pierre Darroussin) consternation in Jean-Marc Moutout’s film. What a total bunch of bankers! But Paul takes matters into his own hands in an explosive, very personal way. It starts with a coldly curious, matter-of-fact sequence: Paul gets up and ready for work, kisses his wife, gets on a bus and arrives at the office. The immediately perturbing vibe suggests that something terrible is inevitable. As it turns out, he shoots his bosses dead and then sits down at his desk. The film then flashes back to an earlier time to try and work out why Paul goes full nutjob with a handgun. It's clear from the finger pointing at the highly unsporting, self-regarding pair of CEOs (one played with pompous relish by Xavier Beauvois, the director of Of Gods and Men) and the hot potato topic of the recession that the film is trading on being a seasonably pertinent and bold exploration of current themes people will feel a kinship for. The film’s drastic actions are worrying, but maybe the Pauls of the world need a vicarious fictional mouthpiece to do the undoable acts on their behalf. After all, we like a David vs. Goliath tale. This one just goes one furious step further and attempts to annihilate its Goliath for all previous unfair dismissal. Early One Morning is mostly gripping viewing. Best avoided by those who’ve just been fired, mind. C+

The terrible bursts of violence in Early One Morning came fast and furious, but that’s nothing compared to what we get sporadically, intensively and with gut-churning abstraction throughout bold Australian drama Snowtown. [More after the jump.]

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Unsung Heroes: The Casting of 'Zodiac'

Hey there, film experiencers. Michael C here from Serious Film. After nearly two dozen episodes of this series I think it’s about time I touched on what is probably the most important under-the-radar job there is: the casting director.

Think about the challenges casting director Laray Mayfield was up against filling out the cast of David Fincher’s Zodiac (2007). 

The sprawling, decade-spanning narrative covers dozens of important speaking roles, various cops, reporters, and victims, which the viewer is expected to keep straight as they appear and reappear over the course of the story. Actors have to be cast who can embody the personality of the character in a way the script doesn’t have time to explain. Yet within those types, she has to find performers who can deliver a unique flavor that stands out from the pack. Dermot Mulroney, Donal Logue, and Elias Koteas all make believable cops, but no one is going to confuse one with the other.

John Carrol Lynch, loveable "Norm" no more.When it came to casting Zodiac himself, Fincher went with the bold choice of having different actors appear as the killer in order to fit the conflicting descriptions the surviving victims gave in each incident. Mayfield and Fincher somehow manage to pull it off without distracting or confusing the viewer. Each of the various Zodiac incarnations has a distinct feel – the Zodiac at the lake is more thuggish than the sinister Zodiac who threatens the woman and her baby on the highway – but the technique never calls attention to itself.

Mayfield outdid herself with the casting of the more substantial roles of the Zodiac suspects. With a story this maddeningly ambiguous the suspects need to project everything and nothing. We need to believe we may be in the presence of evil, but not tip the scales so far that we can’t buy it when the leads don't pan out as hoped. The casting of John Carroll Lynch – loveable Norm from Fargo – as lead suspect Arthur Leigh Allen is a particular masterstroke. In that riveting interrogation scene the viewer studies Lynch’s face along with the cops trying to decipher if they are witnessing the sneering arrogance of the Zodiac or just dumb belligerence. 

Along with her intuitive casting choices, Mayfield distinguishes herself with the depth of her talent search. Names like Anthony Edwards, Ione Skye and Charles Fleischer aren’t exactly at the top of every casting director's  A-List, but they’re perfectly deployed in Zodiac. They slide into their roles with utter believability and their underused star power in small roles adds immeasurably to the film.

It’s outside the box thinking like this that led Mayfield to provide The Social Network with one of the most memorable ensembles of recent years.

There is little fame and glory to spare for the casting director, yet one hears over and over that it is in the casting that most films are made or doomed. As a viewer, all I can judge is the finished project, and going by those results I think it’s safe to say Laray Mayfield is doing her job as well as anyone working today.