Helio I read the book and saw the Swedish version of the film adaption; I do not recall which first - I generally like to see how a novel is adapted into a movie. I didn't want to see what I thought was the American version of a European success until I found out they were produced independently. They both covered the material well but it turns out the Hollywood version was more engaging (if you can call a film about rape entertaining -which had prevented me from viewing either version for a long time). Lizabeth, the tattoo girl character was even more bizarre in the American version. I liked Daniel Craig in this role better than his James Bond outings. Each version had its strengths.The part about the flowers being received annually was so obviously from the missing girl was dubious as a mystery. At the very least it should have been recognized as a possibility. This "flaw" took away from my appreciation of the book and both adaptions. The girl was not necessarily murdered - she was missing just assumed met an unkindly fate.

jo-hanna I've nearly watched this several times, and when I actually did watch it last night, the intro really made me think I wasn't going to like it... Visually, the intro reminded me of (the awesome) Daredevil intro., but sadly only because of the slick graphics and 'flowing liquid'.. Musically it made me expect some kind of fast-paced dark, violent action thriller. It's like a frenetic, dark Bond intro. The film is more moody, and apart from a few scenes, generally much less frantic. They got a good, 'meaty' story going with Lisbeth I thought, but then spoiled it by almost forgetting about it. There was a particularly awful scene involving her, which I thought they'd play out more, but she dealt with it in her own way, then there was only a brief return to it later on.. I don't see the point. It wasn't part of her history: it just happened.. and it didn't seem to affect her much: her relationship with Mikael could've been much more interesting if they'd weaved that into her character. As it was, I wish I hadn't seen it. There could have been more to Mikael's character too. I believe that it would have worked better if their relationship was platonic: he could have been the guardian that she never appeared to have had.I dislike unnecessary violence, etc. in films. It often seems to be added in to please certain audiences, and I feel like that about some of the scenes in this. Overall, it was okay, but why do this remake? Apparently the Swedish version is pretty good. This version even had most of the actors doing Swedish accents.. except 'Bond' who didn't bother.. I got a little lost with all the similar names. The ending I found sad, but overall a bit disappointing. I just found several elements ill-fitting.I intend to watch the Swedish one at some point.

00Ghosts27 This is my favorite movie, made by my favorite director, with the soundtrack made by my favorite musician, starring the actress who most resembles Lisbeth in my opinion, with a better Mikael than the first adaptation. But with a predictable Martin, you can realize that he is the villain even if you did not read the book.

eagandersongil "Millenium - the men who did not love women," for that is, what a strong name, just as the film is also strong, with a seven-faced and a zoadic painted, fincher's investigative suspense hits again. We have here a very well worked script, not only in the construction and immersion of what is being investigated, but in the construction of an environment as a whole, its two protagonists are spectacularly presented and developed, all their nuances and dikes are shown, not always Played in the viewer's face, but for those who are paying attention, he perceives everything that guides our protagonists, just as the Vanger family, all their hatred of inheritance, their feuds and disagreements are extremely immersive, fault of this excellent fincher script that tells the story of Mikael Bomkvist (Daniel Craig) and Lisbeth Salander (Rooney Mara), a man who lives within social standards but is professionally discredited and a woman living out of social standards very professionally credited, the two unite to investigate a case in a family, Where there has been a disappearance more than 30 years. The film talks about invasion of privacy, domestic violence and abuse in a rough way, is like a punch in the stomach, the character of Lisbeth Salander (Rooney Mara) is incredible, a Gothic, with a completely opposite look of what is described in Social conventions that fight against itself in a search for something real. Technically, the film is very good, first the photography, we have nothing from another world, but the photography is always sober, gray, with darker tones, very traditional Fincher films, except in moments of flashbacks, there the Lighter tones take over, the film is clear and with a paler color palette, we can observe a care in this matter in every film, and the soundtrack is always sagacious, nothing memorable, but it is there, always. Rooney Mara, accustomed to cute roles is here completely decharacterized, and makes a very sober acting, just like her partner. Finally, "Millenium - Men who did not love women" is a movie that pleases.