Search: Starring Michael Nyqvist

On balance this is a serviceable thriller with plenty of exciting moments.

The film does entertain, even excite at times, but it never creates a sustained atmosphere of dread.

As the action progresses, this quickly becomes Marinca's film, as she uses her body language as much as the script to suggest more subtle forms of angst.

Some of the plot twists strain believability but Ross has a tight hold of the film's emotional drivers, mixing moods like a heady and dangerous cocktail so that a disturbing tension builds.

Far less conventional than the first film, and less accessible with it, The Girl Who Played With Fire is nevertheless strangely compelling.

Buska seems completely at ease with this complicated woman who is by turns childish and playful, ferocious and tyrannical, and keenly intellectual.

Features an ending that leaves the softened finale of the first film looking as if it were simply intended to draw in unwary viewers in search of something altogether more conventional.

One of the flaws of Malick’s film is that the main character goes into introspective mode, thereby depriving us of any real insight in to his thoughts.

Engaging in approximately the same way that a shoot-em-up arcade game is engaging.

Whilst the story is ultimately fairly straightforward thriller stuff, the things it has to say are anything but. It's also a stunningly beautiful, atmospheric piece of work.

Following the phenomenal sequences up on the Dubai skyscraper, it seems that the only way is down.

The production design is fascinatingly intricate - the endless dimly lit corridors of the girls' flat are beutifully grubby and claustrophobic - and the music is aptly menacing.

Just when you think you have the measure of the plot, it leaps away from you.