Luftslottet som sprängdes (2009, Sweden)

Larsson's novels were very complex and involved a lot of detail about Swedish politics. The films, especially this third film, was much more simple, but still a passable adaptation. The first was definitely the best. This was an interesting look at the Swedish legal system. Apparently the judges/jury, prosecution, defense, and witnesses just sit in a big circle and talk it out! It makes it difficult to believe that the corruption that's the basis for these stories could possibly occur in such a country.

My biggest complaint about this installment was the abrupt ending. It just felt way too sudden. Otherwise, my comment would all be repetitive from the two other films. I will repeat, I think for the second time, that Noomi Rapace is a stellar actress. I look forward to seeing her in more movies.

Rating: 3.5

Metropia (2009, Sweden)

I have to copy the plot summary from imdb to make this make sense: In the near future, oil reserves are nearly depleted and Europe is connected by a series of underground tunnels. While navigating these tunnels, Roger hears a voice in his head. Seeking a way to rid himself of the voice only leads Roger deeper into a bizarre conspiracy of control at the highest reaches of government.

This is rather oversimplifying, but it's difficult to explain. As you can see from the poster, this had the most interesting animation style I've ever seen. I couldn't quite decide whether it was 2-D or 3-D. The correlation between voice actors and characters was interesting as well. Roger looked vaguely like Vicent Gallo, while Stefan looked even more like Alexander Skarsgård. Yet these two characters also looked like each other a bit (which is a part of the story, not coincidence). So that was all pretty neat.

The world that they created in this dystopian future Europe was fascinating. The superior public transportation system, which is such a positive aspect of European life now, becomes the symbol of the worst parts of life in the future. Consumerism (and objectifying a specific woman in commercials for a specific product) gives the corrupted leaders a means of control over the populace. The colors are mostly black and gray, and only a few things stand out. Most noticeably Roger's dull red jacket, the model's brilliant blond hair, and the bright blue color of the shampoo she's advertising.

I can't fully do this film justice. The concept, the mood, the animation, the voice acting—all were superb. I highly recommend it, especially if you like something a little different every now and then.

Rating: 3.5

Flickan som lekte med elden (2009, Sweden)

Inevitably, a film adaptation of a complex, multi-layered suspense/mystery novel of the outstanding caliber of Larsson's work just isn't going to have the same impact. True, a lot was too oversimplified (for instance, the sex trade angle, a huge part of the novel's plot, never made sense in the film). Also, the fight between Paolo, Miriam, and the German was way too *bang* *pow* super-choreographed.

Still, a lot of it carried over well. It was very dark and suspenseful. I still think the casting for Lisbeth was excellent, though Mikael was on and off. The music was eerie and dark, perfect to set the appropriate tone. Good stuff, especially if you haven't read the book but even if you have.

Chilling, powerful, engaging, and very Swedish. Good stuff.

Rating: 3.5

Män som hatar kvinnor ( 2009, Sweden)

There's nothing like seeing a film based on a novel starring a bunch of actors you don't know to let you appreciate the quality of the adaptation. This was a great film, and I'm glad I was able to see the Swedish adaptation before the American adaption comes out. (My guess is that this version will be the better one since it wasn't Hollywood-ed up, even if Daniel Craig is going to play Blomkvist in the American movie.)

The casting was pretty near perfect, at least for the two characters who mattered. (The rest I could take or leave.) Blomkvist was a middle aged but sort of ruggedly handsome go-getter type, and Salander was teeny and angry and very punk, with the haircut to match.

It's interesting how something so graphic and violent and awful (i.e. rape, murder, etc.) can seem less so when you read it (and frankly lack the imagination to picture something so horrible) and yet even when they tone it down for a film, it seems ten times as ugly. They definitely kept the bleak tone of the novel, and even the Swedish landscape added to the feel.

One thing that I really missed was the depth of the characters. Larsson had an almost overzealous narrative, rambling about things that seem pretty irrelevant to the plot. That's something that just can't carry over into film. Still, they didn't do an awful job converting it, and otherwise, everything that was good about the book was good about the movie. Suspenseful, complex, character-driven mystery. Wonderful.

Rating: 4.0

Kill Your Darlings (2006, Sweden)

A Swedish film made in the States in English. A dark comedy / drama about a guy with writer's block who essentially allows himself to be kidnapped by an insane woman who wants to help him find his muse. A story within a story about two suicidal people and their handler en route to Vegas to meet up with their celebrity psychologist, who is actually using them for a sick reality show.

Clearly, this was a bizarre film.

However, it was also quite good. Trying to piece together the overlapping stories definitely kept my attention, as did trying to figure the motivation of the characters. And on the note of characters, I have to rave about my primary motivation for seeing this film, which of course would be the opportunity to see Alexander Skarsgård playing a suicidal transvestite. I usually try to avoid sounding like a fan girl, but he really is something. His performance was so subtle, an especially glowing adjective when you consider he is a giant, masculine, 6'4" sexy Swede in a skirt and heels and nail polish and eye shadow and a wig, and he seems as fragile, awkward, sweet, and shy as a 12-year-old girl. He was just beautiful, and though I'm probably biased, I thought he stole the show.

As I mentioned before, I liked trying to puzzle out what was going on and why. In trying to search for an ultimate meaning (a very difficult task), I finally decided it was simply about two road trips, but it was also about many characters fighting through depression and trying to identify their reasons for soldiering on through life. I watched the making of feature, and everyone from the writer to the actors struggled to answer the question "What is this film about?" So I figure my interpretation is as good as any.

I must end with a closing note on the score, as usual. This one was unique, and yet it reminded me of something I can't quite place. It used a lot of vibraphone (or it may have been marimba) and had a sort of steady and upbeat yet depressing feel. It is so hard to explain in words, but it fit the plot and tone of the film to a tee. If I've said it once, I've said it a million times, but a fitting score can really make or break a movie. It wasn't the only factor, but Jon Rekdal's score sure helped make this one.

I'm ready for some more Swedish film now, please, Netflix! To be more specific, I'm ready for some more Swedish film featuring Alexander Skarsgård...

Rating: 3.5

Montenegro (1981, Sweden)

I can't believe I watched this thing. It was definitely trying too hard and not enough all at once. It starts with a very artsy quote and image involving a monkey with a cage, first clue of trying too hard. Then up starts a very '80s song over the opening credits, first clue of not trying hard enough.

Essentially an American woman married to a rich Swede starts going slightly crazy and decides to follow him on a business trip to Brazil. Because she has her gardening shears in her bag, she gets pulled aside by security. Next thing you know, she's taken up with a gypsy woman who was also pulled aside by security, and she heads off to the Zanzi-bar, where she is introduced to this crazy, bohemian world of shovel fights, sex shows, and pretty much sheer insanity. She actually seems to be the sanest one there.

I can't even say anything productive about the acting, the score, the cinematography, the writing, or anything. It was just too... eh. The best part, by far, was the freeze frame and titles at the end, which were definitely the biggest WTF? moment of the whole shebang. Fitting.

I don't think I'd recommend it, unless you enjoy asking yourself, "Why did somebody make this movie?!" (Kind of like how I asked myself, "Why does Stef own this, and why did she let me borrow it?!")

Rating: 1.5