The Hunt for Red October as made by a Michael Bay wannabe who can’t even rise to the level of giving-a-propagandistic-crap. Absurd geopolitics and laugh-out-loud clichés abound; tension and excitement do not.
I didn’t think we were making movies like this anymore. Very near future. Hard science. Nothing fantastical. Space geekery galore, gorgeous and authentic.
I’m not sure I’ve seen a more superfluous film that Fincher’s pointless second take on a story that was served supremely well onscreen so recently.
Tough, smart, and competent, yet also wounded and searching: that Lisbeth Salander remains the riveting centerpiece of the two films that follow on from The Girl with the Dragon Tattoo, but, alas, her continuing story has been winnowed down in a way that makes it — and her — feel smaller than before.
See it if you love movies with compelling characters doing fascinating things and overcoming tremendous obstacles to get to an immensely satisfying end. You know: the things that movies are supposed to do, but rarely seem to manage.