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Music Box Owns the Millennium Trilogy

Posted by Eric Lavallee on Mar 23, 2010
Source: Screen Daily

Having grossed about nine grand per theatre in 34 locations was either enough for a deal to take place, or a pre-existing deal to be announced, but regardless - Music Box films have landed parts II and III to the Millennium Trilogy. No decisions have been made as to when The Girl Who Played With Fire and The Girl Who Kicked The Hornet’s Nest will be released, but I'm guessing that a logical release pattern would see The Girl With The Dragon Tattoo continue with its theatrical and the homevid runs, and then pull out a quick two step by the end of the year. The film's lead Noomi Rapace recently discussed with us the differences between director Daniel Alfredson and helmer Niels Arden Oplev (who directed the first installment).

The Girl Who Played With Fire sees Lisbeth Salander returns to Sweden after spending a year abroad. Having returned, she falls under suspicion for having committed the murder of a journalist and his girlfriend. Now Mikael Blomkvist has to do what he can to reach her before the authorities do.

The Girl Who Kicked The Hornet’s Nest sees Salander is hospitalized after the dramatic events following the meeting with her father. Blomqvist continues to uncover the reasons why Lisbeth has been treated so harshly by the Swedish authorities.

Do you think this will be a profit-worthy franchise for Music Box?



Comments

  • user icon

    Posted by Luba Maisterrena on 2010-04-19 at 14:41:16

    I cannot see how these films could fail. As a fan on Larsson`s books, the first film was true to the book and the actors could not have been cast any better.

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Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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