The Girl with the Dragon Tattoo (David Fincher, 2011)

Discussions of specific films and franchises.
Post Reply
Message
Author
flyonthewall2983
Joined: Mon Jun 27, 2005 3:31 pm
Location: Indiana
Contact:

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#226 Post by flyonthewall2983 » Wed Feb 01, 2012 12:13 pm

knives wrote:I'd switch The Game and Fight Club, but yeah that sounds like what I'd say too. Maybe put Seven over The Social Network though.
I like Se7en but I find it a bit over-rated as it is already. Mostly because of glut of sub-par thrillers and horror movies that sometimes slavishly make homages to it. And as pure crime drama, Zodiac makes it look a little amateur in comparison. I'm sure this is preaching to the choir on this, but it made real what Se7en glossed over and it felt way more true to the job of detecting grisly murders and the endless obsession and waiting it entails.

That said, there are things I still enjoy about it that make me see why so many people ripped it off. It felt immersive in terms of cinematography and sound design. If you had no idea you were listening to it on a 5.1 system, you'd think you were in the rooms yourself. Howard Shore's music feels like it's emanating from cracks in the walls. And the scene where Ermey picks up the phone in the middle of a scene is still quite funny to watch.

The thing about The Social Network I enjoyed is almost the same thing I enjoyed about The Insider. I felt that film was Mann's attempt, in part, to show he had the directing chops to make a legal/moral drama as intense and exciting as any of his work in the action/crime genre. And with TSN, I can see how it fits in Fincher's world as easily as something like The Game or Fight Club but without the more graphic and profane elements.
Last edited by flyonthewall2983 on Wed Feb 01, 2012 12:24 pm, edited 2 times in total.

User avatar
matrixschmatrix
Joined: Tue May 25, 2010 11:26 pm

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#227 Post by matrixschmatrix » Wed Feb 01, 2012 12:21 pm

I don't think Seven is meant to feel realistic, it's more like a modern fairy tale or something- sort of an existentialist question of whether it's worth living in a world of ever encroaching darkness, and what one can do to fight it. It's also got one of the first Brad Pitt performances that really impressed me.

User avatar
knives
Joined: Sat Sep 06, 2008 6:49 pm

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#228 Post by knives » Wed Feb 01, 2012 12:32 pm

Agree to both posts. I really only think The Game and Zodiac from him are out and out capital G great films, but even something a little childish like Seven I think works because of how it tampers with the formula. The procedural aspect is kind of pointless considering how out of nowhere John Doe comes out from and it's more fascinating for how sickly it presents this world that it will still argue for. It's such a hideous mass of contradictions that I can't help but feel in the moment at least that it's great.

User avatar
mfunk9786
Under Chris' Protection
Joined: Fri May 16, 2008 4:43 pm
Location: Philadelphia, PA

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#229 Post by mfunk9786 » Wed Feb 01, 2012 12:42 pm

Andre, I feel like I need to see this film one more time before I write extensively about it.

User avatar
zedz
Joined: Sun Nov 07, 2004 7:24 pm

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#230 Post by zedz » Wed Feb 01, 2012 3:23 pm

I think Fincher is probably the most talented of the big commercial American directors of the moment, but he hasn't made that many out-and-out great films. Benjamin Button is the obvious misstep, where the material had inherent flaws that no amount of technique and invention could cover over, but I think the same criticism applies to Seven, The Game and Fight Club, which all hinge on incredibly shoddy plot twists that disintegrate on any reflection whatsoever, and consign the films to the power of their passing gimmicks - fun, but ultimately empty calories. Panic Room I haven't revisited, but it was more satisfying at the time on those terms, a slick modern Hitchcock thriller and one of those films you watch and wonder why more Hollywood films can't be so straightforwardly entertaining.

Zodiac was, for me, his first mature film, and it was a doozy. It managed to grapple intelligently with adult questions while also delivering any number of bravura set-pieces. It also seems to be his most personal work to date (with the possible exception of Button, which I think is actually a pretty bold experiment. Unfortunately, it's also simultaneously a very long string of sappy cliches). And The Social Network followed through on the promise of Zodiac, albeit without quite the same panache.

In the long term, I think Fincher's legacy will be, in artistic terms, as an ingenious genre explorer who managed to make a handful of really exceptional and more personal films despite the constraints of the industry, and, in industrial terms, as a major pioneer of integrated digital effects. His approach to these is worlds away from the numbing number-crunching of most frustrated video-game designers and he's somebody who's actually using his new tools not to dazzle or cheat, but to expand the expressive potential of cinema.

Zot!
Joined: Wed Jan 20, 2010 12:09 am

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#231 Post by Zot! » Wed Feb 01, 2012 4:27 pm

I agree almost completely with Zedz, except I remember little profound about Zodiac even...maybe I should watch it again. Alien3 is freaking atrocious however, and despite his protestations, he's also complicit in that particular train wreck.

User avatar
Roger Ryan
Joined: Wed Apr 28, 2010 12:04 pm
Location: A Midland town spread and darkened into a city

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#232 Post by Roger Ryan » Wed Feb 01, 2012 5:21 pm

Zot! wrote:I agree almost completely with Zedz, except I remember little profound about Zodiac even...maybe I should watch it again. Alien3 is freaking atrocious however, and despite his protestations, he's also complicit in that particular train wreck.
The work print version of ALIEN 3 presents a considerably different film than the theatrical release and raises the effort from unsatisfying to acceptable in my opinion. Fincher is not an auteur and the quality of his films is almost wholly dependent on his collaborators or how the project is initiated in the first place. DRAGON TATTOO is a fine example in that I can't fault any choices he makes, but he's strapped to a potboiler that will not allow his craft to rise above a certain level. In other words, he's not Kubrick adapting something like THE SHINING.

ZODIAC was a success on all fronts; FIGHT CLUB and THE SOCIAL NETWORK just a bit behind that followed by SEVEN. Everything else ranges from enjoyably entertaining for what it is (DRAGON TATTOO) to disappointingly flawed (BENJAMIN BUTTON, THE GAME).

User avatar
zedz
Joined: Sun Nov 07, 2004 7:24 pm

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#233 Post by zedz » Wed Feb 01, 2012 6:08 pm

Zot! wrote:I agree almost completely with Zedz, except I remember little profound about Zodiac even...maybe I should watch it again.
I think it's pretty bold for anybody to make a 'detective' film that doesn't offer closure and, more to the point, questions the very idea / possibility of closure. From that springboard it takes on, in a natural and unforced way, some very big ideas about the nature of truth and the psychology of how people construct explanatory narratives to justify their lives. As in regular detective films, the characters (and audience) are joining dots, but in Zodiac the dots are just dots, and the picture you make is all about subjective you, not objective truth.

Or, another way of looking at it: the dots that join up to make the face of the killer are all there, somewhere, but they're impossible to see because of the millions of other dots that have also fallen on the page - which is an interesting metaphor for the mixed blessings of the information age.

User avatar
Mr Sausage
Joined: Wed Nov 03, 2004 9:02 pm
Location: Canada

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#234 Post by Mr Sausage » Wed Feb 01, 2012 6:30 pm

zedz wrote:
Zot! wrote:I agree almost completely with Zedz, except I remember little profound about Zodiac even...maybe I should watch it again.
I think it's pretty bold for anybody to make a 'detective' film that doesn't offer closure and, more to the point, questions the very idea / possibility of closure. From that springboard it takes on, in a natural and unforced way, some very big ideas about the nature of truth and the psychology of how people construct explanatory narratives to justify their lives. As in regular detective films, the characters (and audience) are joining dots, but in Zodiac the dots are just dots, and the picture you make is all about subjective you, not objective truth.

Or, another way of looking at it: the dots that join up to make the face of the killer are all there, somewhere, but they're impossible to see because of the millions of other dots that have also fallen on the page - which is an interesting metaphor for the mixed blessings of the information age.
Well said. The above is what makes Zodiac--and I mean this in the least jargony manner possible--a serious post-modern detective film. There is such a proliferation of links, connections, clues, trails, signs pointing to other signs, that ultimately you realize that what's important is the signs themselves and not what they signify. Structures, textures--anything constructed--become more important as constructions, made things, than as vessels for meaning. And we see so many characters trying to forge coherent narratives out of events that have taken an important place in the national psyche, to the point that this narrative building consumes their lives, becomes self-destructive. The movie doesn't go the full deconstructionist route of denying the possibility for true meaning in all structures, giving us a cynical, pointless rat-race of a movie. Instead, it uses its post-modern conceits to reveal certain essential details about human psychology, how we look for and create meaning, and why we're compelled to do this. Process over product.

Zodiac, in its subdued way, is about the impetus to make art as seen in people who aren't aware they're doing so.

User avatar
Andre Jurieu
Joined: Tue Nov 02, 2004 3:38 pm
Location: Back in Milan (Ind.)

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#235 Post by Andre Jurieu » Wed Feb 01, 2012 6:38 pm

Roger Ryan wrote:Fincher is not an auteur and the quality of his films is almost wholly dependent on his collaborators or how the project is initiated in the first place...
Not sure I agree with that, mostly because it could be said about any director, even if the established general consensus within respected circles - whether they be composed of respected academics, esteemed critics, or even just a bunch of knowledgeable film enthusiasts - is that certain directors are, in fact, considered to be auteurs.

The quality of Kubrick's films varied greatly depending on his collaborators or the source material, as it does for many established auteurs, such as Hawkes, Hitchcock, Welles, Scorsese, and I could keep going on and on. However, in the end, it seems to just become a function of the arbitrary tastes of whatever viewer is making the distinction.

It seems apparent that Fincher has a distinctive style, and in my mind, I believe Fincher is the most prominent and recognizable creative force behind almost all of his films, whether I believe them to be impressively invigorating successes or frustratingly disappointing failures. I also believe most of his films exhibit an unique perspective, as well as a very consistent and distinctive attitude, while they generally explore similar themes and certainly display a fascinating fixation with specific aspects, consequences, and trends within modern Western society, particularly the notion of our constant and determined struggle against impermanence, which often warps into exhaustive obsessions.

Also,
zedz and Sausage wrote:a bunch of stuff I completely agree with.
Last edited by Andre Jurieu on Wed Feb 01, 2012 6:53 pm, edited 1 time in total.

User avatar
Lars Von Truffaut
Joined: Sun Mar 20, 2011 6:50 pm

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#236 Post by Lars Von Truffaut » Wed Feb 01, 2012 6:51 pm

Andre Jurieu wrote:Not sure I agree with that, mostly because it could be said about any director, even if the established general consensus within respected circles - whether they be composed of respected academics, esteemed critics', or even just a bunch of knowledgeable film enthusiasts' - is that certain directors are, in fact, considered to be auteurs.

The quality of Kubrick's films varied greatly depending on his collaborators or the source material, as it does for many established auteurs, such as Hawkes, Hitchcock, Welles, Scorsese, and I could keep going on and on. However, in the end, it seems to just become a function of the arbitrary tastes of whatever viewer is making the distinction.

It seems apparent that Fincher has a distinctive style, and in my mind, I believe Fincher is the most prominent and recognizable creative force behind almost all of his films, whether I believe them to be impressively invigorating successes or frustratingly disappointing failures. I also believe most of his films exhibit an unique perspective, as well as a very consistent and distinctive attitude, while they generally explore similar themes and certainly display a fascinating fixation with specific aspects, consequences, and trends within modern Western society, particularly the notion of our constant and determined struggle against impermanence, which often warps into exhaustive obsessions.
Very well said. I couldn't agree more.

User avatar
knives
Joined: Sat Sep 06, 2008 6:49 pm

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#237 Post by knives » Wed Feb 01, 2012 8:16 pm

zedz wrote: It also seems to be his most personal work to date (with the possible exception of Button, which I think is actually a pretty bold experiment. Unfortunately, it's also simultaneously a very long string of sappy cliches).
I think I'm in agreement with you, but I would like to hear more clearly what you mean by personal in this context. I certainly think it's his best directed and most technically mature film and a very satisfying followup to Zodiac on that front, but I don't see how any of the themes or story elements are personal to him,

User avatar
zedz
Joined: Sun Nov 07, 2004 7:24 pm

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#238 Post by zedz » Wed Feb 01, 2012 9:52 pm

We should probably adjourn to the Button thread, but the weird thing about the film for me is that it comprises moment after moment that seems to be very intensely felt, and it presents itself with the bracing difficulty of trying to evoke strong empathy despite having a radically alienating narrative structure. Kaufman went even further in this direction with Synechdoche, New York, and left an even bigger mess, but I find that failure rather fascinating too. The problem with Button for me is that the overall narrative lazily relies on the weepiest cliches (the oft-noted Forrest Gump effect), and this continually dissipates the tension and emotion generated by individual shots, moments and sequences. The thing is, the film's overarching conceit would probably be much more affecting and poignant if it wasn't dressed up with all the over-emphatic set pieces and cutesy ironies, as if affords a stark way of making visible the invisible tragedy we all share: of life slowly, inexorably slipping away, and taking with it, second by second, opportunities for happiness. Thematically, you can see how Fincher could see an opportunity to explore a related set of issues to those he aced in Zodiac, but the script he had in this instance flattens out almost all of the subtlety and replaces it with Scenes from an Oscar-Nominated Movie.

In terms of this all being personal to Fincher, he's spoken about the film being a response to the death of his father, and it's very easy to see how that particular investment manifests itself in the film (up to and including the larding on of sentimentality).

User avatar
knives
Joined: Sat Sep 06, 2008 6:49 pm

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#239 Post by knives » Wed Feb 01, 2012 10:06 pm

You're probably right on this belonging in the Button thread. I think the sentimentality and other problems can probably be sourced to Roth though and Fincher directs it better than most others would. Imagine Ron Howard for example tackling it. As for Fincher's own seriousness, I think that's mostly just who he is. He directs even comedies rather seriously and with a strong emphasis in the ways you've noted which just don't benefit this script at all. Otherwise I think we're very much in agreement on this. I didn't know though that he's spoken of the film in reference to his father's passing though.

User avatar
zedz
Joined: Sun Nov 07, 2004 7:24 pm

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#240 Post by zedz » Wed Feb 01, 2012 10:48 pm

I think it was at the very start of the making-of doc on the Criterion disc (which is, by the way, a much more rewarding watch than the film itself!)

User avatar
knives
Joined: Sat Sep 06, 2008 6:49 pm

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#241 Post by knives » Wed Feb 01, 2012 10:54 pm

I've been promising myself to rent that for those special features. I'm sure it is very rewarding.

User avatar
Roger Ryan
Joined: Wed Apr 28, 2010 12:04 pm
Location: A Midland town spread and darkened into a city

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#242 Post by Roger Ryan » Thu Feb 02, 2012 10:15 am

Andre Jurieu wrote:Not sure I agree with that, mostly because it could be said about any director, even if the established general consensus within respected circles - whether they be composed of respected academics, esteemed critics, or even just a bunch of knowledgeable film enthusiasts - is that certain directors are, in fact, considered to be auteurs...
"Auteur" was really too loaded a word for what I was trying to get across. I agree that even when a director commands significant power over a finished product (or, at the very least, is the principal screenwriter as well) that his/her collaborators will still determine the overall outcome of the film. My post was, in part, directed to Zot! and the claim that Fincher was complicit in the failure of ALIEN 3. I think it's fairly clear from the 3.5 hour analysis found on the ALIEN ANTHOLOGY that the project was a mess before Fincher signed on and the re-shooting/re-editing for the final theatrical cut wrecked much of what Fincher had attempted to present. In the end, ALIEN 3 is too easy a target since it was the director's first feature and one he did not develop from the beginning nor did he have final cut.

However, it strikes me that Fincher is not a film-maker who is interested in completely re-shaping a story or screenplay structure to suit his vision, but to make his mark in the technical areas and with performance. There is nothing wrong with this approach and, in fact, this is what directors are supposed to do. It may be that it is all that Fincher is allowed to do to maintain a career. But it is different from how someone like Kubrick adapted his material. THE SHINING would be the most obvious example since the source novel, like THE GIRL WITH THE DRAGON TATTOO, was a best seller at the time the film was made. Kubrick altered significant portions of the story and outright eliminated things Stephen King felt were essential. While Fincher reworked certain things in DRAGON TATTOO, his film is a much more faithful adaptation, right down to keeping in several references to sandwiches (an odd fixation for novelist Larsson) that didn't make it into the Swedish film!

I admire Fincher's work quite a bit and believe he has a very singular style in his technical choices. But the dramatic moments of BENJAMIN BUTTON barely resemble what is found in ZODIAC and THE SOCIAL NETWORK and the comedic moments are completely different from what is found in FIGHT CLUB. Like with his adaptation of DRAGON TATTOO, Fincher doesn't transcend his material to make it undeniably his despite the resulting film's strengths or shortcomings. Of course, he doesn't have to.

User avatar
Lars Von Truffaut
Joined: Sun Mar 20, 2011 6:50 pm

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#243 Post by Lars Von Truffaut » Thu Feb 02, 2012 2:53 pm

Roger Ryan wrote:However, it strikes me that Fincher is not a film-maker who is interested in completely re-shaping a story or screenplay structure to suit his vision, but to make his mark in the technical areas and with performance. There is nothing wrong with this approach and, in fact, this is what directors are supposed to do. It may be that it is all that Fincher is allowed to do to maintain a career. But it is different from how someone like Kubrick adapted his material. THE SHINING would be the most obvious example since the source novel, like THE GIRL WITH THE DRAGON TATTOO, was a best seller at the time the film was made. Kubrick altered significant portions of the story and outright eliminated things Stephen King felt were essential. While Fincher reworked certain things in DRAGON TATTOO, his film is a much more faithful adaptation, right down to keeping in several references to sandwiches (an odd fixation for novelist Larsson) that didn't make it into the Swedish film!

I admire Fincher's work quite a bit and believe he has a very singular style in his technical choices. But the dramatic moments of BENJAMIN BUTTON barely resemble what is found in ZODIAC and THE SOCIAL NETWORK and the comedic moments are completely different from what is found in FIGHT CLUB. Like with his adaptation of DRAGON TATTOO, Fincher doesn't transcend his material to make it undeniably his despite the resulting film's strengths or shortcomings. Of course, he doesn't have to.
The use of sandwiches is nothing more than a detail from the book that helps to punctuate the setting. Using your example of THE SHINING, does the inclusion of the bear outfit blow-job indicate that Kubrick didn't stucture that film to suit his vision? Quite honestly, I thought it was interesting that you brought up THE SHINING, as I think they are indeed similar in their use of setting and in the way that both films alter parts of the story to enrich the filmic experience. I may be misremebering but at the time of release I don't believe that King's novel was a best-seller. As for the Swedish film - sandwiches aside - I found it a much more faithful adaptation in most respects, with Fincher mainly sticking with the over-all skeleton and keeping the beginning and end. Also keep in mind, his intentions are to make a trilogy based on a very popular product. If this were going to be a stand alone, I think certain aspects would be quite different.

While Fincher may not get script credit, he certainly does have his fingerprints just as much in that aspect as editing, lighting, and so forth. I'll admit that BENJAMIN BUTTON is a bit of in oddity, but I think it is so in the way that MATCHPOINT is different from Woody's ouvre up to that point while still maintaining his distinct touch. As for the rest of his work, Fincher has a knack for being able to adapt to the picture, certainly. But so did Howard Hawks (an auteur) and he ended up doing okay for himself.

User avatar
Roger Ryan
Joined: Wed Apr 28, 2010 12:04 pm
Location: A Midland town spread and darkened into a city

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#244 Post by Roger Ryan » Thu Feb 02, 2012 4:03 pm

The "sandwich" bit was a joke. At least one commentator has pointed out that the novel never misses an opportunity to describe someone eating a sandwich (an estimated 35 sandwiches consumed). I even suspect that the two sandwich references that made it into Fincher's version might even be an in-joke acknowledging this.

Again, I'm not trying to be too hard on Fincher and I suspect this discussion is simply veering toward an "auteur theory" scuffle. On the director continuum, I find Fincher to be more of a collaborator (from how he selects projects to the finished product) than someone like Kubrick or Allen. At the same time, his films demonstrate a more singular vision than, say, Ridley Scott who is also known for keeping his finger on all aspects of production. None of this has much to do with the enjoyment of any given film or in how good the director does his/her job.

As to DRAGON TATTOO, I felt like I was watching a shot-for-shot remake of the Swedish version quite a bit of the time. Having said that, I think Fincher's version is the superior one (except for the Swedish accents!) and I really like how he subtly altered the relationship between the two leads. There's no question that his talent elevated the piece, but given the expectations of working with this franchise, it's a bit like him walking into ALIEN 3 again...although this time he got final cut.

flyonthewall2983
Joined: Mon Jun 27, 2005 3:31 pm
Location: Indiana
Contact:

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#245 Post by flyonthewall2983 » Fri Feb 03, 2012 9:10 pm

I've heard some criticisms of the accents too, even one saying Skaarsgard sounds Irish, which I can't disagree with but the irony of that is pretty thick.

User avatar
Andre Jurieu
Joined: Tue Nov 02, 2004 3:38 pm
Location: Back in Milan (Ind.)

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#246 Post by Andre Jurieu » Mon Feb 06, 2012 4:00 pm

Roger Ryan wrote:"Auteur" was really too loaded a word for what I was trying to get across... However, it strikes me that Fincher is not a film-maker who is interested in completely re-shaping a story or screenplay structure to suit his vision, but to make his mark in the technical areas and with performance. There is nothing wrong with this approach and, in fact, this is what directors are supposed to do. It may be that it is all that Fincher is allowed to do to maintain a career. But it is different from how someone like Kubrick adapted his material... I admire Fincher's work quite a bit and believe he has a very singular style in his technical choices. But the dramatic moments of BENJAMIN BUTTON barely resemble what is found in ZODIAC and THE SOCIAL NETWORK and the comedic moments are completely different from what is found in FIGHT CLUB.
I think Benjamin Button is really an anomaly within Fincher's career, so it's difficult to use in a comparison with his other films because it isn't very emblematic of his work. I think it would be akin to assuming Spartacus as the seminal work within Kubrick's career, then penalizing Kubrick because its rhythms, tone, and style are so dramatically different from the rest of his work.

Button also doesn't appear to mark any significant shift in Fincher's style or thematic preoccupations, so it's not like it served as a prototype for some new period of creativity. In fact, everything else within his body of work seems to be far more coherent and uniform in terms style and substance, and it's readily apparent that these films are undeniably his work. Actually, as with many other directors, even when an outlier such as Button is thrown into the assessment, you can certainly see similarities in the basic style, tones, the thematic inclinations of the project with the rest of Fincher's work (as you would likely recognize with something like Spartacus within an assessment of Kubrick's career).
Roger Ryan wrote:Fincher doesn't transcend his material to make it undeniably his despite the resulting film's strengths or shortcomings. Of course, he doesn't have to.
Whether or not a director transcends the material he/she works with is probably something that's mostly in the eye of the beholder, but I do agree that it's not really a requirement for someone to be determined as successful at whatever they intended to accomplish. However, I'm sort of perplexed by the notion that any film enthusiast could not immediately identify a film by David Fincher, have a reasonable idea of what that entails, and immediately recognize that he is the primary creative force behind the finished product. In that aspect, I really do think that Fincher should be compared and contrasted to filmmakers such as Hawks and Scorsese, in that their voice/touch is always noticeable though they understand their role within the entire project.

flyonthewall2983
Joined: Mon Jun 27, 2005 3:31 pm
Location: Indiana
Contact:

Re: Criterion and Sony

#247 Post by flyonthewall2983 » Sun Feb 12, 2012 10:49 pm

The UK DVD/Blu-Ray of The Girl With The Dragon Tattoo has four hours of features not listed on the American release. Could be something or nothing, but wanted to throw it out there for discussion. Maybe Criterion ports those features for a release sometime down the line?
Last edited by flyonthewall2983 on Mon Feb 13, 2012 12:25 pm, edited 1 time in total.

ianungstad
Joined: Wed Mar 16, 2005 9:20 pm

Re: Criterion and Sony

#248 Post by ianungstad » Mon Feb 13, 2012 1:39 am

There hasn't been any official press release detailing what's on the American release. Official sources has the release pegged as a 3 disc set, so I'm sure it will have all the supplements that were approved for the UK.

flyonthewall2983
Joined: Mon Jun 27, 2005 3:31 pm
Location: Indiana
Contact:

Re: Criterion and Sony

#249 Post by flyonthewall2983 » Mon Feb 13, 2012 6:40 am

Edit: spoke too soon.
Last edited by flyonthewall2983 on Mon Feb 13, 2012 12:25 pm, edited 1 time in total.

flyonthewall2983
Joined: Mon Jun 27, 2005 3:31 pm
Location: Indiana
Contact:

Re: The Girl with the Dragon Tattoo (David Fincher, 2011)

#250 Post by flyonthewall2983 » Mon Feb 13, 2012 11:25 am

Updated special features. This site has the running time of everything going on the UK release, and it amounts to around four hours.

Post Reply