But the bigger question is why would Fincher waste time making this instead of something more original?

I\’ve seen the original film and read the book, and it\’s just slightly above-average pulp. I\’m sure Fincher will do a fine job directing this film, but I\’m not sure how great it will be as a whole.

I feel the exact way about The Social Network. Was well directed, but not especially an amazing or deep story. As we once wrote, the best directed episode of Law & Order you\’ll see.

That said, this looks great and the original movie was really mediocre. The cover, I dunno, Karen O\’s voice just doesn\’t compare with Robert Plants (obviously, not many voices do).

I fully expect the film to surpass the original (not that difficult of a feat as you mentioned). This will just have to be a wait-and-see thing for me, but it does have the possibility of being very, very good

With Fincher behind the story, a filmmaker who envisions every shot & it\’s meaning before hand I can only imagine this will be another case of a remake that deserves to exist.

And damn, I want that song for my collection.

http://www.wmagazine.com/celebrities/2011/02/rooney_mara_girl_with_the_dragon_tattoo_film?printable=true

http://www.youtube.com/watch?v=1gXY3kuDvSU

I hope they change it to something a little less smart alecky and self-referential.

I need that MP3.

This will be the definitive dragon tattoo, so I wont have to listen to anyone speak about the horrible swedish movies.

Though, I have to wonder about Fincher\’s choice to keep the story in Sweden. I\’ve always found it a bit disingenuous when filmmakers portray another country in English with localized accents (I can only imagine what American audiences would think of a foreign film depicting Americans played by, say, Italians, speaking Italian with an American accent…)

Not only that, but to draw a comparison to a recently remade Swedish film, I think Let Me In worked within its historical and geographical context. Reeves\’ adding of a dash of subtext (Reagan era, cold war, etc.) allowed it to stand apart from Let The Right One In, in a genuinely American context, without losing the emotional punch of the original.

I understand that Larsson\’s work is meant as a scathing indictment of social, historical, and cultural values of the Swedish elite, but I wonder if NOT locating this adaptation in the States represents a missed opportunity to shine a light on a value system that often gets a free pass in American cinema.

Whatever the case, I do admire Fincher for rarely taking the easy way out with his projects.