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As someone obsessed with Stieg Larson's Millennium Trilogy, I found the Swedish made-for-tv adaptation severely lacking and disappointing. David Fincher's Girl with the Dragon Tattoo was, imo, the most amazing adaptation of a novel to a film I've seen as far as capturing everything absolutely perfectly. I was very highly disappointed they didn't let Fincher finish the trilogy.
Is this the thread where I'm allowed to preach my love for the x-books and utter disdain for the x-movies?
Seen and raised: which x-books do you recommend as being good context starter points for someone who loves the movies? What did the movies miss?
Jeepers! I have to justify my distain? But.. But.. But... That's not the way the internet works. Uncanny 168 would be my first stop. It focuses on the people aspect to the x-team in my opinion.
I was the opposite. I thought the Swedish films captured the dark brutality of the books superbly. Fincher's film was too light and held back from going right into the heart of Lisbeth. It looked nice though.
Speaking of justify, that brings to mind a whole new category, adaptations that have done the most with the least amount of source. Justified the tv series, from the short story by Elmore Leonard, and the RED movies based on the 3 issue mini by Warren Ellis and Cully Hamner.I'm really mixed on the X-Movies, in general the casting is good, and there are great scenes (Nightcrawler in the White House, Magneto's prison escape, ...) But I usually feel like something is missing even if I can't put my finger on it. First Class is my favorite. For someone who has seen the movies I'd recommend the "God Loves, Man Kills" and "Days of Future Past" arcs to see where some of the ideas came from. And then Joss Whedon's run but only since it's my favorite. Then back to the other Claremont material.Has anyone seen the longer version they made of the Swedish films? If so, is it worth it? This was one of those rare instances where I had not read the books but my wife had so it was her turn to be all critical and nit-picky I liked the Fincher version a bit better, though I think both Noomi Rapace and Rooney Mara were excellent as Lisbeth. Agree with [member=2226]Mel[/member] that it's too bad Fincher didn't get to finish the series, especially the 3rd part. My wife preferred the Swedish version, (this despite having Daniel Craig in the other,) but she would have liked the films to go more into the social issues that Larsson discussed in the books.I'm tempted to start in on Insomnia and Let the Right One In but this post is already long enough .
Hollywood keeps making video games movies and they keep being terrible. So, the people in Hollywood keep on having to talk about whether any video game film adaptation will ever be good.Starting in the 1990s, the earliest live-action video game movies were blatant cash-in affairs, meant to pull in dollars from a medium that Hollywood studios had no stake in and barely understood. Super Mario Bros., Street Fighter, and Mortal Kombat were total cheesefests, barely recognizable contortions that seemed embarrassed to even exist.A new wave began in the 2000s, sparked by the better-than-most execution of Lara Croft: Tomb Raider in 2001. But Hollywood did as Hollywood does, chasing after success with lesser wannabe fare, like the oeuvre of infamous director Uwe Boll. Postal, Alone in the Dark, and In the Name of the King: A Dungeon Siege ramped up the idea that video game movies were destined to be horrible.Since then, that “video game movies suck” idea has become a sort of self-fulfilling prophecy that creators involved with video game movies have to dodge and contend with. Likewise, the dreaded video game question rears its head in the publicity junkets and set visits used to generate anticipation for each film’s release.Herewith, an incomplete (but still rather long) list of directors, screenwriters, actors, and producers waxing philosophical about what it’s so damn hard to make a movie out of a video game.
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The remake of Insomnia is far superior to the original. However, the opposite is true of Let The Right One In.