Not much time to post but my original top ten thoughts
here. I found
Girl with the Dragon Tattoo a lot warmer than people have been saying, certainly when set next to Se7en and Zodiac. Fincher gets their odd-angled relationship with unexpected tenderness — there's something of a Klute vibe to the pairing of Mara and Craig, one damaged but tough, the other shambolic but gentle. I was impressed with Daniel Craig's gentleness, wardrobe and writing cabin, the most inviting interior in a Fincher film since Benjamin Button holed up in a Moscow hotel with Tilda Swinton and a bottle of vodka. Fincher's lighting and color palette are consistently exquisite and exquisitely morbid, his shadows infused with burnt ochres, blues and Rothko magentas. He makes light appear bruised. There's nothing he can do about the plotting - the book's highhandedness with regard to clues and characters remains intact - but it wraps up satisfyingly, with a great 'Hello Darkness My Old Friend' moment and Salander loosed upon an unsuspecting world, Lecterishly. B+
1. Moneyball A2. Win Win A-
3. Rise of the Planet of the Apes B+
4. The Descendants B+
5. Martha Marcy May Marlene B+
6. Beginners B+
7. The Girl With The Dragon Tattoo B+
8. Drive B+
9. The Artist B+
10. Living In The Material World B+
11. Bridesmaids B 12. Tinker, Tailor, Soldier Spy B
13. Bill Cunningham New York B
14. The Adventures of Tin Tin: Secret of the Unicorn B15. Friends with Benefits B
17. Shame B18. The Tree Of Life B
19. A Dangerous Method B
20. Take Shelter B
21. Cedar Rapids B
22. Hanna B
23. The Lincoln Lawyer B
24. Submarine B-
25. Mission Impossible: Ghost Protocol B-
Not much time to post but my original top ten thoughts here. I found Girl with the Dragon Tattoo a lot warmer than people have been saying, certainly when set next to Se7en and Zodiac. Fincher gets their odd-angled relationship with unexpected tenderness — there's something of a Klute vibe to the pairing of Mara and Craig, one damaged but tough, the other shambolic but gentle. I was impressed with Daniel Craig's gentleness, wardrobe and writing cabin, the most inviting interior in a Fincher film since Benjamin Button holed up in a Moscow hotel with Tilda Swinton and a bottle of vodka. Fincher's lighting and color palette are consistently exquisite and exquisitely morbid, his shadows infused with burnt ochres, blues and Rothko magentas. He makes light appear bruised. There's nothing he can do about the plotting - the book's highhandedness with regard to clues and characters remains intact - but it wraps up satisfyingly, with a great 'Hello Darkness My Old Friend' moment and Salander loosed upon an unsuspecting world, Lecterishly. B+
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