“The Girl With the Dragon Tattoo” proved to be a box office disappointment commercially upon its release, so much so that it’s taken another Lisbeth Salander story seven years to hit the screen.

"The Girl in the Spider’s Web: A New Dragon Tattoo Story” is that film, and while it may find its way commercially, it certainly represents a shift away from David Fincher’s take on Euro-noir, and for some that will work. For others, present company included, it offers mostly disappointment.

There’s little wrong in the casting of Claire Foy as Lisbeth. But Mikael Blomqvist (Sverrir Gudnason)? Let’s get back to that one.

The problems with “Spider’s Web” go beyond that, perhaps to even the source material, a novel by David Lagercratz that continued Salander’s story on the page where the late Stieg Larsson apparently left off before his death. It was written with his estate’s approval.

The film doesn’t share much in the way of DNA with its older cinematic sister in that screenwriters Jay Basu, Fede Alvarez, who also directs, and Steven Knight, strip away most of what worked about that film, including the European influence in favor of a more American sensibility. The result: a film that’s at war with itself.

We’re given pithy throwaway one-liners, nonstop action and plot points of convenience that border on the absurd when they pop up more than intermittently.

Another disservice: muting any semblance of chemistry Salander and Blomqvist showed as reluctant partners, yet passionate lovers. While imbuing Salander with more Ripley a la "Aliens" and playing up the female empowerment angle, which is certainly welcome, they essentially turn Blomqvist into “Joe Journalist” who could have been played by any rumpled actor with a day’s beard growth. That’s how little to do this script and story give him.

As for that? Overall, it would have been more intriguing with less emphasis on the action and more placed on the story’s psychological elements.

Salander finds her life disrupted — well as disrupted as any vigilante hacker’s life could possibly be given her career choice — when contacted by a mysterious scientist.

The scientist Frans Balder (Steven Merchant), a former NSA asset, created a program that will allow the world’s nuclear arsenal to be controlled by one person with a single computer. Of course, the NSA has it. He hires Salander to hack into NSA computers and steal it as he stays one step ahead of everyone with his young son in tow.

Salander’s cyberattack comes to the attention of Edwin Needham (Lakeith Stanfield of “Atlanta”), sending him to Sweden to track down the culprit and leading him straight into a plot involving kidnapping, murder and a personal vendetta for Salander.

Aesthetically, Alvarez’s film showcases the beauty of the land in which he films and he certainly possesses an intriguing video style that enhances the movie. The problem: better material is needed and the audience can almost see the hand of the studio executives tapping him on the back and reminding him to remember for whom he’s directing the film.

Foy pulls off the turn respectfully, showing Salander’s cool passion, but that’s not enough to rescue this one. “The Girl in the Spider’s Web” represents a misstep with a character that deserves a lot better on screen.