Enola Holmes Review: Sherlock’s Kid Sister Rocks


The puzzles in “Enola Holmes” are not particularly difficult, but they are enough to stump the great Sherlock Holmes (played by “Man of Steel” star Henry Cavill). In order to solve this particular mystery – including the disappearance of the detective’s mother, Eudoria (Helena Bonham Carter) – we’ll need an even sharper wit than Sherlock, whom we see as his playful younger sister, Inola (Millie Bobby Brown “As. Find strange things”), an unnamed country wildflower who has spent his first 16 years on Earth, preparing for just such a case, though he did not realize it at the time.

Enola may not be mouthy or even a little girl, but his lack of refinement makes him uniquely suited to this type of sleuthing, which requires a Netflix-ready Netflix feature. For example, to disguise himself as a boy it seems impenetrable to 19th-century gender norms; Trained in the art of jujitsu to challenge the gun-wielding villain with his bare hands; And the optimist (or more naive) suffices to believe that she can do anything to meet the demand for this challenge.

Adapted from the first installment in a six-book series by Nancy Springer, “Enola Holmes” modernizes the Victorian world of Sir Arthur Conan Doyle, “Flebaug” director Harry Bradbir’s equally concise, direct-address approach to the material To bring. A socially awkward character, who is not in the slightest uneasy on camera, Enola serves as her own statement, often breaking the fourth wall as she talks to the audience or shoots in our direction. Knows – A Style That Is Confidentially Before Us “” Tone Bradbeer and Star Phoebe Waller-Bridge “Killed in Flagbug.”

“Enola Holmes” offers a different kind of feminism from the game-changing show that women fall short of acknowledging their faults with the belief that men have worked long hours, and It is time to make room for other people. Focused on the passage of the long-haired fugitive lord (Louis Partridge) and the Representation of the People of Great Britain Act 1884 (which later paved the way for women’s suffrage a quarter century later), the film has contemporary issues of gender equality. – and a permanently fanatical hero in Enola.

Although it was her mother’s unexplained sorting that inspired her adventure, it is the equally strange appearance of Partridge’s character – a lovable young master named Viscount Twysbury, Marquess of Basilweather – who for most of the film Attracts attention. After rescuing this “worthless boy” from a murderer (Bern Gorman), Enola goes his own way, only to recognize that they are both fleeing from their families. She wishes he died, and her – eldest brother Mycroft (Sam Claflin) specifically – aims to send her to a finishing school for young women.

While the project may be British, it can hardly be a coincidence that a story that hinges on this decisive vote on the Reform Act should land within weeks of America’s most important election in decades. And what could be more powerful than the film’s twin messages? The first, “You’re not alone,” should resonate with young women in the audience. Enola (whose name, we remind very frequently, is “alone” backward) becomes a symbol of solidarity for those who feel like outsiders in their non-identities. And second, for those older to influence elections: “Every vote counts,” a concept at the heart of her mother’s disappearance.

“You don’t know what it’s like to be out of power,” one of Eudoria’s female friends scolded Sherlock, saying that calling a specific person by 2020 on his privilege is different. “You have no interest in changing a world that suits you so well.” That may be true, but it is a shock to see the great Sherlock Holmes – a forward-thinking man of science and reason who pioneered the field of forensic investigation – little more than a self-interested beautiful boy , Who has sympathy for her 20-year-old younger sister, is still in a trance behind the progressive attitude that Enola has taken.

It is one thing for Mycroft to be sacked, but Cavill’s casting turns the iconic Sherlock character into what we might call a metrosexual today: worked and so carefully crafted that he could easily be gay – far from tweed Rona- clad, deerstalker-capped yendy. On the other hand, Brown (who may pass for “Sherlock” star Benedict Cumberbatch’s sister) brings some weirdness, which we traditionally associate with the autism-afflicted detective for her role: Enola’s polite society methods. I was never humiliated by her mother, and as such, she is meant to represent female intelligence in her natural, unaffected state. Their performance may be inconsistent with the era, but it is hardly a bad thing. Brown’s acting style spontaneous vibrancy brought to “Sense and Sensibility” recalls Keira Knightley, who had previously snapped up the stale ownership of several Jane Austen conversions.

Here is a Victorian film in which we never hear the sound of the thunder of a tea leaf. Instead, we are treated to a smorgasord bashing the door, crashing the car and smacking the head – not to mention a warehouse full of explosives that point to the most spectacular fireworks show in London. Despite making room for such a bang, “Enola Holmes” remains more delicious and more delicious in its high-energy story than Guy Ritchie’s recent “Sherlock Holmes” films, and last year’s “Nancy Drew “More fun than a reboot.

What is simple satisfaction of solving a case is missing. In addition to using Enogin, Enola does most of his detective work on the fly, relying on his memory or his emotions to drive him, to locate an early clue to his mum’s chrysanthemum. Director Bradbir and editor Adam Bosman maintain a sinister pace throughout, proposed by DP Giles Newtens’ dynamic camera, whose CG-graceful widescreen compositions beat the “Kingsman” -case poppy Ivory-esque locations with pop energy. “Enola Holmes” seems as friendly to the sequel as every franchise, and could benefit from follow-up, as it ends with resolving the Tewkesbury case, and still further regarding Mrs. Holmes’s motives. Needs to be investigated.