This third and final installment of Stieg Larsson’s “Girl” trilogy has hit U.S. shores, but has proven less engaging than it’s two predecessors. Directed by Daniel Alfredson, THE GIRL WHO KICKED THE HORNET’S NEST is largely underwhelming, a tad slow — and certainly too long, despite being roughly the same length as the first two films — and feels more like an adaptation of a John Grisham novel than that of Larsson’s first two novels.
The trilogy began with the spellbinding THE GIRL WITH THE DRAGON TATTOO, which introduced us to the enigmatically rebellious Lisbeth, followed by THE GIRL WHO PLAYED WITH FIRE. The second film added depth to her character, despite focusing far more on Mikael Blomkvist, the renegade reporter and owner of Millenium magazine, determined to do right by Lisbeth.
THE GIRL WHO KICKED THE HORNET’S NEST picks up where the second film left off, with Lisbeth (Noomi Rapace) recovering from the injuries sustained while trying to bury an axe in her father’s head. Her father, the evil and resilient ex-Soviet spy Zalechenko. He actually survived the attack — for which Lisbeth is once again framed for as attempted murder — but not for long.
Zalechenko’s death is where the core of this third chapter sets in, beginning a long and predictable journey for Mikael — and his lawyer friend Erika Berger — as they attempt to prove Lisbeth’s innocence in the face of intimidation and conspiracy. Lisbeth certainly has more screen time in this third film than she did in the second, but becomes oddly less significant. The story seems to have shifted from being Lisbeth’s to Mikael’s over the duration of the trilogy, ultimately leaving Lisbeth’s and Mikael’s “relationship” unresolved.
THE GIRL WHO KICKED THE HORNET’S NEST has it’s finer moments, especially those within the court room, but generally fails to thrill the audience as effectively as the first two films. Lisbeth is in some form of custody for most of this film, making it difficult for her to be herself, until she finally speaks up in court, making the prosecutor look silly.
The most disappointing character development — or lack thereof — is the blond giant Ronald Niedermann, Lisbeth’s half-brother who is unable to feel pain. His on screen presence is increased in this third film, but for no apparent reason than to go on a killing spree and then be duped by Lisbeth in the end. The path this character takes is misleading and ultimately rather pointless. I would have liked to have seen his and Lisbeth s potential relationship explored — for better or worse, rather than Ronald being written off as little more than a freakish thug.
Long story short, the trilogy begins with Lisbeth as a loaner, emotionally and physically scarred, and ends the same way. Aside from her pleasure and relief in knowing her father is finally dead, and her wrongdoers have been brought to justice, there is little evidence of any change in Lisbeth’s character. Perhaps by design, every relationship Lisbeth has developed over the course of the trilogy is left open and undefined.
For such an exciting first two films, the third is far less compelling and detracts from the edginess the first two thrive on. This film kills the mood, so to speak. Overall, THE GIRL WHO KICKED THE HORNET’S NEST presents the conflict of Lisbeth Salander versus the Grumpy Old Men, while Mikael and his staff of reporters risk everything in trying to save her from wrongful accusations, receiving little in the way of gratitude. See this film the finish the trilogy, but don’t expect the same experience acquired from viewing the first two films.
