For example, the characters don't arrive at a train station, they alight at the train station (huh? What are they, birds? in a poem?) Using the words alight and train station in the same sentence doesn't count for charisma. Then we have: He told her he felt as low as he had in life. (what? perhaps he meant, As low as he'd ever felt in his life)
Then we've got fifth-grade-grammar-book dry with, Isabella's neighbour was Cecilia Vanger, the daughter of Harald.
And what's with the constant use of brand names? And the excruciating detail of every article of clothing worn, or every food substance consumed, or every piece of furniture in a room and where it's placed. Who cares? Get on with the story already.
How about these sentences for bafflegab:
~Blomkvist spent the hour of the Disney special on Christmas Eve with his daughter Pernilla at the home of his ex-wife, Monica, and her new husband in Sollentuna.
~Salander had no difficulty understanding the agitated debate that had followed in the trade publication The Journalist, certain newspapers, and on the front pages and in the business sections of the daily papers.
~He painted a picture of the outcry that would result if a legal correspondent began uncritically reproducing the prosecutor's case as gospel in a murder trial, without consulting the defence (their spelling) arguments or interviewing the victim's family before forming an opinion of what was likely or unlikely.
Okay, enough. The Girl With the Dragon Tattoo is clearly not working for me; it's going back on my shelf for (perhaps) another time.