Sherlock Holmes

As you can tell from the first review, you probably have to be a big reader or fanboy/girl of Sherlock Holmes in order to be displeased. I was pleased almost the whole way through this movie without caring much about character. Still, even though Sherlock Holmes sometimes was a bit too 'ambiguously gay' and had an annoying modern-like personality, he continued to be funny, strange, and as intelligent as I thought Sherlock should be. Jude Law did a good job as well as others on the cast.

I loved the plot. It was obvious to me at times how the story would unravel, but then it hits you again in the end. It was a subtle hit, however. Anyways, my favorite part of the story was mainly the broad scheme of things and the people involved. Sherlock goes deep enough into the world of conspiracy to keep me interested.

My only gripe with this movie is sometimes the humor. A lot of the 'humor' came out during conversations. People would laugh at the wittiness spewed by the main characters, and it just felt too much like a modern sitcom. Today, American society and culture is infected with internet memes, battles of quick wit, and straight-faced jokes that provoke a lame laughter from me (one not deeply felt.) You could compare what I am saying to the dialogue in 'The Big Bang Theory.' Hollywood could maybe tone down a bit on dry and clever jokes, especially when they poke out during unnecessary times.

In conclusion, I enjoyed this movie enough to rate it an 8 out of 10, and although I did complain more than I gave praise, I just didn't want to give away all of the good parts. Go see this movie. It's fresh, isn't based in America, and doesn't trail off there either. There are twists, excellent action scenes, lots of fun moments, sweet investigation, and some analogous material better discussed in a forum of theorists.

Somehow, i've always avoided the cinematic (or TV) presentations of Sherlock Holmes. I find the character fascinating, but i always felt it was more invested in literature, not cinema. His deductions, the way he surrounds the worlds he investigates are a feast for thinking minds. Even when the deductions are over the top (which happens often!) one can't stop smiling at the cleverness. More than that, the character is a perfect piece invested in a clever, irresistible and fascinating world. London. That part is visual, and a good ground to invest a cinematic world. But, unlike for example anything by Agatha Christie, Doyle's cleverness is rooted in pure deductive logic, not on the mechanics of the world. Notice that Christie's crimes are many times a matter of understanding how things happened, spatially (murder on the orient express is the zenith of that). I suppose Doyle formed his mind before cinema had any significant impact on how our minds work.

So the challenge for any modern filmmaker, and actor, who wants to update Holmes, is to make the character more cinematic, more appealing. Several tricks are used here, most of them successful, even if straightforward. One is the most obvious, making Holmes an action character (which actually is in its original dna, even though TV productions usually ignore that). This might be a flop, and make the version laughable, but by now there is a sense of irony and self awareness in Ritchie's films (sincer Lock Stock) that allows him to support a xxi century action figure in Holmes clothing that actually is watchable. A minor trick here is the association of the deduction with the very process of physical fighting, which creates some Matrix moments. Well, their watchable, though not particularly interesting. In the greater arc, there are good action sequences, because, as any competent action these days, considers the elements of the surrounding space, and uses them.

But there are two big things in this film, which take it to new levels of interest.

One is the acting. Jude Law is a clever guy, an interesting actor whose greatest quality is how he merges anonymously with the context he is intended to integrate. He willingly becomes a piece of a larger tapestry, and that really is something to look upon. There are not many actors who can claim they can do this competently. But the king of the game is Downey Jr. He is the gold piece in the puzzle of updating Holmes. There certainly will be a before-after Holmes character, with this film. The man is capable to work his performances on several directions, and each of them is a perfect link to its surroundings. So he gives in to Ritchie's demands, and introduces humour, irony, and self-awareness in the character, to make it usable for the director's winks at ironic action. He invests totally on the creation of a character who merges with the textures of the context, while being distinct from it. And while doing it, he folds us into his game, so we do everything with him, side by side. We deduce, we smile, we run, all with him. So, if the film hadn't other qualities, Downey Jr would still make it worthy, because he, alone, solves one the most basic problems with any film: to find a channel audiences can safely cross into the game someone (director) proposes. He is one of the best ever.

But there is another great thing here, which i suspect has a lot to do with several guys involved in the process of making the film. The result is an incredible sense of placement. London, XIXth century. All those dirty muddy streets, all the dirt. The fascination of the inner locations, namely the midget's laboratory. How those sets are usable, in the action scenes. That's all competent, more than competent. It's perfectly rendered, carefully photographed, it sounds overly artificial, but it's a matter of taste, i suppose. But what was really striking was the use of the London bridge. Notice how it is announced, early in the film, with a similar perspective to the one we'll get in the end. Than, the great sequence, when Irene Adler goes through the sewage, goes up, and we end up with a close up of her, in an unidentified location. The angle opens, we move away, and we are set up in the location for the final fight scene, which in its own merits is interesting enough. So, this was a unique way to actually use an establishing location, instead of merely showing it. I mean, how many films have shown the Eiffel towers? countless. How many actually use it? not so many. This is one of the best London cities we've seen lately.

My opinion: 4/5

http://www.7eyes.wordpress.com

Do Guy Ritchie and Sherlock Holmes fit? Why, it's elementary my dear movie fan. This is one of the most entertaining thrillers of the year and the fantastic Downey Jr. and Law are a big part of the reason why. They take top honors as the years best bro-mance, arguing like an old married couple while deep down knowing that they'd be lost without each other. Downey is Holmes and Law is sidekick Dr. Watson, embroiled in a plot where the black-magic-practicing Lord Blackwood (a perfectly grave and menacing Mark Strong) has risen from the dead after being sentenced to hang. Rachel McAdams also shows up as Irene Adler, the only criminal who has ever gotten the best of Holmes.

Downey Jr. brings quick-wit, cunning, and a scruffy toughness to a role long seen as stuffy and dry, while Law a distinguished charm that, at times, spills over into testy aggressiveness (which is funniest at Holmes most annoying). Both toss off the one-liners with ease. Ritchie's directorial style also comes through, from the dark, grimy Victorian- London production values to the violent boxing and martial arts matches. Holmes' mindset (such as the steps he takes to neutralize a suspect, interpret clues, follow the deceptive) also brings out Ritchie's ability to create an ultra-stylized flashback. There are also a few really thrilling action set-pieces involving a boat and an unfinished bridge. The plot, by three screenwriters, is a little on the convoluted side but it gets the job done with plot-twist on-top of plot twist. With all the brutal violence and style, you can be sure this isn't your Grandpa's Sherlock Holmes, but it will have you drooling for a sequel nonetheless.

The grandfather of the mystery genre -- and film's most adapted character -- is none other than the great detective Sherlock Holmes, so if one were to apply Holmes' own deductive reasoning skills, a modern reinvention was a matter of time. English Director Guy Ritchie ("Snatch," "RocknRolla") applies his witty and gritty crime thriller style to the first mainstream 21st Century version of Holmes, one that will likely appeal to a younger crowd and those less familiar with previous incarnations of the iconic sleuth.

The reason is the new "Holmes" is much less concerned with the quality of the mystery and more focused on breathing a new quirkiness and style into the character and his top-notch detective work. The script hopes you'll be hooked on the reveal of how Holmes figures everything out and not so much the crime/mystery itself. In other words our new "Holmes" is about creating an entertaining diversion in the form of clever logic, high-brow humor and old-school science -- it uses mystery conventions but to a showier end. Wisely, Warner Bros. has trusted the responsibility of delivering this amusement to one of the best and hottest comedians out there in Robert Downey Jr.

Downey Jr. continues to impress in his turn as Holmes, managing to employ his same wit and charms while creating a unique character that makes you feel as if you're watching Holmes, not RDJ with yet another accent. This Holmes is not merely a wise detective of old, but the quirky type, suggesting some insanity behind the genius. RDJ makes him much more colorful and entertaining and takes attention away from an okay storyline.

The mystery surrounds Lord Blackwood (Mark Strong), who appears to have supernatural abilities derived from an ancient magic. He creates terror in London appearing to have risen from the grave and committed a couple murders. Holmes and his dear friend Dr. Watson (Jude Law) are on the verge of ending their partnership because Watson has plans to settle down and marry when the crafty Irene Adler (Rachel McAdams) gets them deep into the Blackwood case.

The supernatural angle didn't work well for the latest Indiana Jones film and it doesn't exactly do well here. "Sherlock Holmes" Ver. 2009 is a little more Dan Brown "Angels & Demons" and a little less "Se7en." This is fine for those who can look to Holmes for a more mainstream romp than what an older crowd might hope to be a rigorous exercise in fine mystery and logic. Again, the fewer the expectations, the better.

As for the lean and mean Guy Ritchie depiction of Holmes, it's not entirely unfounded. The script creatively draws the connection between Holmes' intellectual prowess and how he might use it in a physical bout. It adds another dimension and ups the entertainment factor of the character. It might feel like it's giving a character steroids to put on more of a show, but the appeal would be too narrow if Holmes were straight-laced. Credit, however, has to go to Downey Jr. for making this vision work. His banter with Watson and ability to use classic Holmes logic to a comic effect is infinitely enjoyable.

It does take a bit of settling in to understand exactly what direction this new Holmes is going in, but it works thanks to RDJ and picks up as the mystery thickens and Holmes' limits are tested. McAdams' character lacks enough strength to stay memorable and as much as I like Strong, his character lacks dimension too. But the rebirth of Holmes will be a nice Holiday escape for the modern audience and those willing to keep an open mind. It's not your grandfather's "Sherlock Holmes" but can you think of any reason why it should be?

~Steven C

Visit my site at moviemusereviews.com

It's a good film inspired on splendid novels about Sherlock Holmes character written by Arthur Conan Doyle , including two first-range nasties with malignant aims as Mark Strong as Blackwood and Doctor Moriarty , furthermore one woman , Rachel McAdams , as a suspicious young with mysterious purports .

In the flick appears the usual of the Arthur Conan Doyle's novels : Dr.Moriarty , Mistress Hudson (Geraldine James), Inspector Lestrade (Eddie Marsan) and of course Doctor Watson (Jude Law) , the perfect counterpart to Holmes . Holmes along Watson will solve unanswered mysteries and Sherlock undergoes some risked experiences to resolve the cases using even his habitual disguise . It's a nice Holmes film with gripping London and sensational setting . A genuine ripping yarn very intriguing . The movie blends suspense , thriller , detective action , cloak and dagger , mystery and is pretty interesting . It packs an exciting amount of surprises with great lots of entertainment . This is a classy and effective romp with a strongly casting . Robert Downey Jr.'s interpretation is magnificent , he's a Sherlock for modern times , of course very different to Basil Rathbone considered the best Holmes in the cinema , likeness to Peter Cushing and Jeremy Brett in television. Robert Downey as Holmes plays in a clever , broody and impetuous manner , as whimsical detective is top notch , he's in cracking form acting as a two-fisted fighter . He makes an unique perspective on his life revealing a complex personality . He's finely matched in battle of wits with Blackwood-Mark Strong . The stars have a splendid fight towards the end on the Tower of London , plus Holmes tries to battle against his arch-enemy Moriarty but with an amazing final surprise . Although Basil Rathbone will be forever identified as Holmes , however Sherlock is also played by Robert Downey as an intelligent , cunning , broody and impetuous pipesmoking sleuth but addicted to the cocaine . Dr. Watson here isn't a bumbling and botcher pal generally represented by Nigel Bruce but an clever and astute partner perfectly incarnated by Jude Law . The film has a creepy atmosphere , it's in glimmer color with lights and shades that originate strange setting . Set design is of first rate , the movie is very atmospheric , the dark , shady and dirty slums of London are very well designed but with excessive use of computer generator images. Screenwriter Michael Johnson provides the original plot , creating the basis for this particularly storyline . The film boasts a beautifully cinematography by Philippe Rousselot and a haunting score by Hans Zimmer in John Barry style . This big budgeted production by Joel Silver sparkles with polish and wit and the ending is as exciting as moving and being well directed by Guy Ritchie .