The Girl with the Dragon Tattoo Review

When it was decided that Hollywood were to get their hands on Stieg Larsson's conspiracy thriller novel and translate it into the English language, there seemed to be only one director to handle this kind of material. After his success with films like Seven (1995), Fight Club (1999) and more recently with The Social Network (2010), David Fincher seemed the ideal choice to bring the raw violence and intensity of this story to audiences. He hasn't disappointed. From the hypnotic, Bondian title sequence to the abrupt editing and stark cinematography, Fincher's Dragon Tattoo excites and engages the audience from the get go.

Having not completed Larsson's first novel I admit coming into the film a little clueless as to what to expect, but my nerves were unnecessary. Daniel Craig and Rooney Mara in particular are inspired casting for Blomkvist, a shamed journalist who is given the task of discovering who murdered a teenage girl 40 years ago, and Salander, a sharp, intelligent, socially and mentally unstable reporter who eventually assists Blomkvist in solving the mystery. The film is dark because the subject matter upon which it is based is dark; therefore there is both a rape and a torture sequence, both of which are thankfully not prolonged, yet still difficult to watch for those with a nervous disposition. Don't let this put you off if you are intending to see the film. These scenes make up roughly 10 minutes of screen time in an otherwise highly watchable and intriguing film.

What Fincher does particularly well is stylishly deviate from the violence in order to flesh out the characters. In Seven the crimes committed are vital to the narrative but it is the relationship between Brad Pitt and Morgan Freeman's private detectives; the pro and the rookie, that is afforded the greatest depth and audience investment. Similarly with Fight Club, it is Edward Norton and Brad Pitt and the conflicts of personality that capture our attention over the physical violence of the fight club itself. Here, Fincher gives our protagonists more than adequate screen time in order to flesh out their characters.

Mara's Lisbeth may be anti social and dangerous but she is an asset to Blomkvist in solving the case. She is tenacious, she stands up for herself and her body image and we are engrossed in her ability to convey so much with just a glance. Short cuts between the narrative - of Salander being mugged in the underground and overcoming the mugger, and being raped and getting her revenge on the rapist, develop this character to the level that although she is one of few women in the story, she is the strongest character.

Craig's Blomkvist begins by jeopardising the future of his company and his reputation but ultimately redeems himself by solving the case, though crucially with the help of Lisbeth. Craig and Mara spark off each other brilliantly and their relationship seems entirely plausible. Some of the casting is questionable - Joely Richardson as one of the central characters of the story seems an offbeat choice - and a fair amount of back story and explanation is cut to quicken the pace of an already long film, but this is ultimately another impressive film to add to Fincher's catalogue. This could be the first of I hope many films in 2012 that make you go "I need to see that again."

James Bond in review - Quantum Of Solace (Marc Forster, 2008)

"I don't give a shit about the CIA or their trumped up evidence; he's my agent and I trust him!"

It was never going to be an easy task following up the unexpectedly brilliant Casino Royale, Daniel Craig's Bond debut, with the 22nd official outing in the series. Bond's heart has been broken by the woman he loved, he has been betrayed by a criminal organisation to which he has only one lead and, perhaps the toughest of all, Craig must show that's he's not a one 'Bond' hit wonder by pushing the envelope in the series' first direct narrative sequel.

Bond and Camille walking purposefully through the desert

Taking the helm on Solace is German-born Marc Forster, a director with a keen eye for character and making locations characters of their own. Solace is, in many respects, unlike any other Bond film in the series. The film is set to breakneck pace (blink and you'll miss the action) with the shortest run time of the series and the most abrupt, dynamic editing techniques are deployed. Craig's Bond is seeking vengeance and going against authority - it's Licence to Kill with Craig instead of Dalton. In fact, it's much more than that. Daniel Craig is yet to totally convince Judi Dench's ever steely M that he can be trusted out in the field; that his emotions won't interfere with his job. The pressure is definitely on Craig to nail his second performance as Bond after a decidedly brilliant debut and needless to say he surpasses expectations.

Bond and Greene fight to the death in the burning Hotel Perla De Las Lunas in the desert

Bond is essentially a bleak character by Fleming's pen and Craig personifies this better than perhaps any of his predecessors in the role. He has his brutal moments - stabbing a contact in Port au Prince and surveying him as he slowly dies, disarming MI6 guards in a lift or dispatching M's aide Mitchell in a dramatic chase. Paradoxically, we feel for this lonely character in his reflective moments - holding a dying Mathis in his arms, shielding Camille from a burning hotel. Bond is still a conflicted soul. As Camille delicately supposes, he is still imprisoned by his thoughts and feelings for Vesper.

"Take a deep breath, you only need one shot. Make it count."

In many respects, Casino Royale and Quantum of Solace work brilliantly as an introduction to 007. We have seen the violent side of the character, we have seen the brief moments of solace and comfort and we now have the chance, with Bond 23 around the corner, to see a more playful side to Craig's Bond. As a stand alone film Solace succeeds in its own merits boasting stunning locations and some fine dialogue but more importantly, as a sequel and a character progression it is a vital addition to the series. James Bond, we 'need you back'.

James Bond in review - Casino Royale (Martin Campbell, 2006)

"I have no armour left. You've stripped it from me. Whatever is left of me, whatever I am, I'm yours."

Rewind to 2000. The Bond producers finally acquire the rights to Fleming's first and most influential Bond novel Casino Royale and are looking to bring 007 into the 21st century with a bang. With Brosnan's contract not quite through after the release of The World Is Not Enough at the turn of the millennium, it would be another six years before we would be introduced to a new 007 and taken back to the genesis of Fleming's spy.

Daniel Craig is 007 number seven

Whilst distinctly having a very different look to the previous 20 official films in the series, (which makes sense as this is essentially the birth of James Bond), Casino Royale is arguably one of the best films in the series. The direction is crisp and taut; director Martin Campbell returns to Bond after introducing Brosnan to audiences in great fashion in Goldeneye in 1995, the acting is also meticulous, particularly from Eva Green as the defining Bond girl Vesper and the ever brilliant Judi Dench returns as Bond's icy boss M : all the elements generally seem to click.

One of the most beautiful and the most integral of Bond's ladies - Vesper Lynd (Eva Green)

Despite a backlash from many claiming that Craig was NOT BOND he delivers brilliantly and gives perhaps the strongest debut performance of a Bond actor. Bond returned to battle the box office here and overseas once again and, surprise surprise, he triumphed, even after 44 years and six incarnations of the eponymous hero. All in all a terrific kick start to what some have suggested to be a dying franchise after the commercially successful but realistically disappointing Die Another Day. 'You know his name, you know his number', as the old Bond tagline says.