The Girl in the Spider's Web: A New Dragon Tattoo Story

‘The Crown’ actress steps into the role of ‘Dragon Tattoo’ avenging angel Lisbeth Salander and completely makes it her own

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In The Girl in the Spider's Web, Claire Foy's Lisbeth Salander is just another ho-hum heroine

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'The Girl in the Spider's Web' mires Claire Foy in familiar Bond-lite action

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Claire Foy scowls her way through a flashy but shallow sequel

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When gifted hacker Lisbeth Salander (Claire Foy) is attacked in her apartment, the assailants make off with a dangerous computer program. As she tries to retrieve it, ghosts from her past begin to haunt her at every turn.

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The plots of these films and stories, and so much of Scandinavian crime fiction in general, often rely too heavily on coincidence and chance, be they serial killers or multinational cutthroats.

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The Crown star adds weight to an efficiently made yet ultimately empty attempt to resurrect goth-hacker Lisbeth Salander

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Claire Foy continues Stieg Larsson's 'Millennium' series as Lisbeth Salander, Swedish hacker and avenger of wronged women, in an action-thriller from director Fede Alvarez.

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Uruguayan-born Fede Alvarez (“Don’t Breathe,” the recent “Evil Dead” reboot) handles the action breathlessly and well enough. The movie’s acted with serious conviction. But I kind of hate it.

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Fans of Stieg Larsson’s Millennium franchise won’t be pleased with the way Lisbeth Salander has been reduced to a Batgirl-like figure with a tacked-on psychological profile.

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A disappointing follow-up to 2011’s “The Girl with the Dragon Tattoo,” “The Girl in the Spider’s Web” is a slow trudge devoid of suspense and adrenaline.

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Now, having skipped over the two follow-up books that Larsson himself wrote before his death (and considering the weakness of the Swedish film adaptations, that was probably a good idea), the English-language version of the franchise is being relaunched with “The Girl in the Spider’s Web,” and this time around, the resulting film features all of the dubious qualities of the previous entries listed above without any of the virtues.

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Alvarez tries to pep things up with chases, near escapes, dramatic rescues, fetish wear and female nudity. But the whole thing is a bummer, at times risible.

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Álvarez’s film suffers from a compulsion to be capital-C cool, and all of its ostensibly stylish shots are untethered to any semblance of a sustained reality.

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The new installment, with combat galore, misses most of what made Stieg Larsson’s ‘Millennium Trilogy’ great.

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