Daniel Alfredson’s The Girl Who Kicked the Hornet’s Nest shares many of the same flaws as the Millenium trilogy’s previous installment and then some, leading to a dull thud of a conclusion. The Girl Who Kicked the Hornet’s Nest has little else on its mind except tying up loose ends and concluding a long gestating conspiracy story being spearheaded by some of the most inept shadowy government agents I have ever seen. Whatever suspense or danger that might have pervaded previous installments is completely lacking here as Lisbeth Salander (Noomi Rapace) recovers from her injuries from the end of the first film and is on trial for her attempted murder of her father.
The plot mechanics of the film befuddle me but much of that is most likely a lacking in understand of the Swedish judicial system. In either case, the story is dull and lacks any kind of suspense whatsoever. In fact, taking this film and the previous one put together, one could say this would be the trial portion of a Swedish “Law and Order” remake. After the events of the second film, Salander is recuperating while also being held under guard, charged for the attempted murder of her father who, for some reason or another (again, going to have to ask the Swedes on this one), is recuperating at the same hospital. Mikael Blomkvist (Michael Nyqvist) takes it upon himself to use his magazine to publicly defend Salander and reveal all the dirty, corrupt practices of shady old white men who have kept her imprisoned and incapacitated for her entire adult life.