Micke spreitz biography examples

Well, now she’s done it. Or… that’s what you’d think, based on the title of the third film in the Millennium Trilogy, The Girl Who Kicked the Hornet’s Nest (Luftslottet som sprängdes). The movie begins by reminding you of what happened in the last minutes of the last film — Lisbeth (Noomi Rapace) was shot in the head, beaten senseless, and tossed into a muddy grave, after which she lurched to her feet just long enough to go after her dad Zalachenko (Georgi Staykov) with an axe, in the rain — all leading you to think that what comes next involves some serious kicking of metaphorical nests.

You’d be wrong. Instead, The Girl Who Kicked the Hornet’s Nest falls back on the formula which has brought the series this far, that is, inflicting trauma and abuse on Lisbeth. It certainly makes her mad — she fumes with conviction, and she’s had a lot of practice — but this time, most of it occurs in flashback. This as Lisbeth recovers from brain surgery and awaits trial for murder (this contrived, very unconvincingly, at film’s start). She also draws the interest of the very nice Dr. Jonasson (Aksel Morisse), who provides her with a handheld (illicit) so she can communicate with Mikael Blomkvist (Michael Nyqvist). He suggests that she start writing her autobiography, so that she’ll be prepared for court, and so she starts thumbing her keyboard at lightning speed, while the film cuts away to terrible images of the child Lisbeth strapped to a bed, prey for the very mean psychiatrist Teleborian (Anders Ahlbom Rosendahl).

If these images don’t provide new narrative (the first two films have already indicated that Lisbeth’s past represents a broad system of oppression), they are offered here as a vague and creepy kind of therapy, or at least a first step toward making her personal pain a public indictment. Powerful men have colluded to keep their secrets, specifically secrets c

"The Girl with the Dragon Tattoo" was a vibrant, mesmerizing Swedish thriller about a brilliant and damaged woman who hit back at the men who had tormented her. The sequel is gawky and forced, a rambling narrative that is more interested in perpetuating the tale of Lisbeth Salander for its own sake rather than because it has a compelling story to tell.

"The Girl Who Played with Fire" -- the second in a cinematic trilogy based on the late Stieg Larsson's "Millennium" novels -- does gather itself together for a smashing finale that, if predictable, still packs plenty of visceral punch.

Director Daniel Alfredson and screenwriter Jonas Frykberg take over from, respectively, Niels Arden Oplev and the team of Nikolaj Arcel and Rasmus Heisterberg. Why the filmmaker switcheroo I cannot guess -- only observe that the change was not for the better.

"Fire" picks up one year after the events of "Dragon." Having assisted investigator journalist Mikael Blomkvist in uncovering a morass of secrets belonging to a rich family, Lisbeth has absconded with an embezzled fortune to find some measure of peace on a sunny beach.

With a long criminal history and incarceration in a mental institution, she eschews emotional relationships, but left a chink in her armor big enough for Mikael to slip through.

Lisbeth returns to Stockholm when she hacks the computer of her probation officer, Bjurman (Peter Andersson), to see what he's up to. After being violently raped by Bjurman in the last film, Lisbeth exacted a horrifying revenge that included his coerced agreement to falsify glowing monthly reports about her.

(Why she needs this, when she's successfully disappeared off the grid with her millions, is never made clear.)

Meanwhile, Mikael and his magazine staff are preparing an explosive expose about men in positions of power trafficking in sex slaves. Soon, the young journalist writing the piece and his girlfriend are shot execution-style

The Girl Who Kicked the Hornet�s Nest (2010)

WARNING: SP�ILERS III

�The Girl Who Kicked the Hornet�s Nest�? Really? How about �The Girl Who Lies in Bed While a Bunch of Old, Decrepit Hornets Buzz their Last Buzz�? If some trilogies follow the Hegelian pattern of thesis/antithesis/synthesis, the Millennium trilogy goes a slightly different route: thesis, thesis, anesthesia. I felt nothing but sleepy here.

The thesis of the series is in its Swedish title, �M�n som hatar kvinnor�: �Men Who Hate Women.� So �Dragon Tattoo,� the first film, gives us not only Martin Vanger, a Swedish Nazi who has been torturing, raping and killing women for 40 years, but, for extra credit, Nils Bjurman, lawyer, guardian, and rapist of our fidgety, feral heroine, Lisbeth Salander (Noomi Rapace). Both villains get theirs. The second film, �Played with Fire,� brings back Bjurman for a final bow before kicking him to the curb. There are also allusions to human trafficking, but these gets buried when it�s discovered the man running the sex trade, Alexander Zalachenko (Georgi Staykov), is Lisbeth�s father, whom fire played, while his blonde, brutish henchman, Ronald Niedermann (Micke Spreitz), is the half-brother she never knew she had. These guys hate, sure, but they overflow our thesis. They�re EOE. They hate everybody.

By the third film? We�re left with Dr. Peter Teleborian (Anders Ahlbom), the director of the institute where 12-year-old Lisbeth was incarcerated after she played with fire. Apparently he was in the second film, too, but I don�t remember him. Apparently he tied up Lisbeth for more than a year of her two-year-stay, and there are allusions he abused her, along with vague, grainy, flashback footage. But he�s a toothless beast now, more pathetic than horrifying. When not the main government witness in a trial to incarcerate Lisbeth again, he jerks off to child porno.

�Hornet�s Nest� is less revelation (for us) than attempted cover-up (by the powers-that-be). Because Li

The journey of Lisbeth Salander came to an end (in Sweden anyway) with the release of the third and last film in the Millennium Trilogy, “The Girl Who Kicked the Hornet’s Nest.” Picking up where the last one left off, we watch as Lisbeth (the ever superb Noomi Rapace) slowly recuperates from the injuries inflicted on her by less than caring family members. Soon after, she is forced to stand trial for murders and crimes we all know she did not commit, so Mikael Blomkvist (the late Michael Nyqvist) and his staff at Millennium Magazine work to prove her innocence. Still, Lisbeth’s cold bastard of a father Alexander Zalachenko (Georgi Staykov) vows to silence his daughter for good, and he threatens to expose the corruption he is fully a part of. All the while, Lisbeth’s panzer tank of a half brother Ronald Niedermann (Micke Spreitz) is on the run, laying waste to everything in his path.

Of the three films in this trilogy, “The Girl Who Kicked the Hornet’s Nest” is easily the weakest. This one has more talk than action and, like the second film, it keeps Lisbeth and Mikael apart from each other more than we would like. But if you get past the problematic things about this third movie, there’s still a lot to appreciate. We have traveled along with these characters for two movies now, so it should be clear as to how emotionally invested we are in their collective fates. While society may view them from a distance, we see them for the individuals they are.

At the center of attention is Lisbeth Salander, far and away one of the strongest female heroines in literary history. We see Lisbeth beaten to a pulp, left for dead, and we watch as she endures a slow and painful recovery and seeks a long overdue justice for all the wrongs inflicted on her throughout her lifetime. With this third movie, we see fully why she is such a damaged human being and how she was rendered a victim through false imprisonment and abuse which forever wrecked the trust sh