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Critics Consensus: Slow and mostly devoid of the stellar chemistry between its two leads, The Girl Who Kicked The Hornet's Nest is a disappointingly uneven conclusion to the Millennium trilogy.
Critic Consensus: Slow and mostly devoid of the stellar chemistry between its two leads, The Girl Who Kicked The Hornet's Nest is a disappointingly uneven conclusion to the Millennium trilogy.
All Critics (130) | Top Critics (31) | Fresh (70) | Rotten (60) | DVD (3)
It's a brisk conspiracy thriller about the moral deformations wrought by Sweden's neutrality during the second world war and the cold war, and the role of leftwing journalists to bring out the truth from a labyrinth of national intrigue.
A more apt title would be 'The Girl Who Sat Quietly in a Dimly Lit Room'.
It's only our investment in these fascinating characters and in wholly unraveling the mystery of Lisbeth Salander's awful past that keep it compelling.
Hornet's Nest has a steady, bulletlike trajectory.
The Girl Who Kicked the Hornet's Nest is too akin to the tidying up of a television-series finale - albeit a very classy franchise with fine characters and able performances.
If you haven't seen the first two films, do so and then see this one. If you have seen them, chances are you're already in the ticket line. Hornet's Nest has such a sweet sting.
Making up for the series' somewhat tepid second installment, The Girl Who Kicked the Hornet's Nest is a gripping and deeply satisfying conclusion to the trilogy.
... wraps up the tale with more efficiency than excitement.
A two and a half hour film, the poor script, infrequent action scenes and unforgivably anti-climactic conclusion make it feel like its taking place in real time.
The Girl Who Kicked The Hornet's Nest doesn't exactly give the Millennium trilogy the explosive send-off it deserves, and stacked against the other two movies in the series, it's perhaps the weakest story of the three.
This film ends up being more of a courtroom drama, and yet it's almost as equally thrilling as the first film in the series.
Will make no sense to those who haven't seen the first two or read the books
This final chapter is not as infuriatingly incoherent as the previous one but is even less interesting, with very little tension and few surprises. Besides, it also lacks that chemistry between the two leads, who are once again barely seen together.
Super Reviewer
Enjoyed, but definitely need to see the first two first. It is very long and can drag a little, but Lisbeth in court makes it all worthwhile.
The tale of Lisbeth Salander and Mikael Blomkvist concludes as Lisbeth is confined to a hospital bed but still the subject of investigation the ire of her psychotic half-brother. While I find this film a fitting conclusion to one of the best thriller trilogies in recent memory, as a stand-alone film, it doesn't do much but continue the trajectory of the second installment. The villains whom we thought were vanquished return in different forms. As a result, there's nothing new added to the story or the characters, and The Girl who Kicked the Hornet's Nest is a good film but ultimately unnecessary. This is especially true at the very end; I won't give away any specifics, but it's enough to say that I was left wanting a more satisfying conclusion to the connection that the first two films developed between Salander and Blomkvist. Noomi Rapace is Lisbeth Salander, the best actress for the part and a perfect embodiment of what the character projects, and the same can be said of Michael Nyqvist. I don't know if they're going to make an American remake of this film (I assume they are), but for all of Rooney Mara's talents, no one captures Salander's nihilism like Rapace. Overall, you should see The Girl who Kicked the Hornet's Nest to complete the trilogy, but don't expect anything approaching the first film.
Taking off directly from where the second film ended, the momentum is kept really well in this final and concluding chapter of the Millenium saga. All the intense and fatal events that transpired in the first two, are now culminated in a battle for justice that is to be settled in the court room. Before entering those doors, however, we take part of an electrifying psychological game, where our heroes are in constant danger and the villains always out for blood. Chief antagonist Alex Zalachenko is a very menacing character, whom regardless to his brief appearance and physically crippled state, evokes great fear and unrest in us, for what he's capable of doing (and already have done) to Lisbeth and the other characters that we've grown to care about throughout the story. That, plus he bears a haunting resemblance to The Emperor in Star Wars. It will be hard to match his performance, so I hope David Fincher will make the right casting choice in his upcoming re-makes. At any rate, this is a satisfying end to the series, that despite a few bumps along the road, now enters the history books as one of the most daring, successful and memorable film trilogies ever made. And the fact that they were all conceived in my home country of Sweden, just makes the experience all the more fantastic.
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