Sherlock Holmes

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 .

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.

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.

A+

If there is one genre I began to detest over the years, it was the 'buddy-action' flicks. You know the movies where two guys who aren't exactly friends are forced to form an uneasy alliance which leads to hilarious escapades. It's only been done a thousand and one times, note the long line of duos: Bruce Willis & Samuel L. Jackson ("Die Hard 3"), Will Smith & ("Wild Wild West"), Chris Tucker & Jackie Chan ("Rush Hour"), and let's not forget Jackie Chan and Owen Wilson ("Shanghai Knights"). Though many (but certainly not all) of the aforementioned films are indeed funny, few have any real lasting qualities and even fewer a challenging storyline. The best they can often do is throw an alluring female co-star between the two leads, but I digress.

This film however, stands a monumental achievement. Firstly, the cast is really something else. Robert Downey Jr. as our titular character, and he does a bang up job playing a man who's a mystery in himself. Jude Law is entertaining and I'm glad Eddie Marsan was aboard. Mark Strong makes for a very impressive antagonist, and Rachel McAdams is a seductive femme fatale of sorts. The gloomy setting, 1800s London, couldn't be better realized and it definitely gives the film a darker tone.

Most importantly though, the story is truly a one-of-a-kind detective tale. It really is a pitting of rationality vs. superstition, and to my heart-thumping exhilaration for the majority of the film you would think good old logic had been defeated. Moving on before I spoil anything. The plot twists and turns menacingly, and leaves one astounded by the effort put into the writing.

Lastly, kudos to composer Hans Zimmer who did a very catchy leitmotif that fit the film perfectly. The gray-blue cinematography is great, and I've got to congratulate Guy Ritchie on his feat.

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

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