The Girl Who Kicked the Hornet's Nest
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Tampa Bay Times
For the initiated, however, Alfredson weaves a tidy web from loose ends left dangling.
The Hollywood Reporter
The movie features a great finish, where three movies' worth of subplots and characters dovetail into a breathtaking climax and final confrontation that is positively soul satisfying.
An entertaining thriller. That said, it's the weakest of the films, falling a length or two behind "The Girl Who Played with Fire," and considerably more than that with respect to "The Girl with the Dragon Tattoo."
So what has happened is that this uptight, ferocious, little gamin Lisbeth has won our hearts, and we care about these stories and think there had better be more.
Benefits from edge-of-your-seat pacing despite a conspicuous lack of action.
In place of romance there are numerous talky espionage scenes that make the movie feel like one of those labyrinthine cold war pictures from the 60s.
New York Magazine (Vulture)
Larsson is renowned for his attention to marginal details, which gives his prose a rambling, one-thing-after-another pace that many readers find soothing. Onscreen, the lack of acceleration makes for one of those long Scandinavian winter nights.
Like the first two Millennium movies, this final installment feels thoughtlessly put together, its script unpruned and rushed through, all to capitalize on the staggering worldwide popularity of its dead author.
Mostly an epic rehash of the tale Larsson has already told, and that makes it, at two hours and 28 minutes, the first movie in the series that never catches fire.
This can't be a faithful facsimile of the literary phenomenon currently turning soccer moms into Scandinoir crackheads. Nor can ethical journalist Mikael (Nyqvist), an uncoverer of conspiracies, actually be the dull, Windbreakered nonaction hero onscreen.
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