Sherlock Holmes: A Game of Shadows (2011)
★★ / ★★★★
Newspapers pegged anarchists as responsible for the recent bombings in Europe. Everyone was nervous that the bombings would eventually spin out of control and war among European nations would ensue. Sherlock Holmes (Robert Downey Jr.) suspected foul play, believing that someone smarter and more cunning was behind the terrorist attacks. When not flirting with the beautiful Irene Adler (Rachel McAdams), a contract purloiner of all things important, Holmes served as a friendly thorn on Dr. John Watson’s (Jude Law) side, attempting to convince his friend that getting married was tantamount to a lifelong enslavement. “Sherlock Holmes: A Game of Shadows,” written by Michele Mulroney and Kieran Mulroney, was a movie so intent to impress, it almost won me over despite its clunky plot and distracting–although at times impressive–technical gadgetry. What prevented me from being fully immersed in the film was catching myself sitting passively waiting for something really interesting to happen. Although twists and turns were abound, each successive surprise suffered from diminishing returns. At one point I wondered what other type of tricks it had, if any, in its bag. There were two well-executed scenes that matched the material’s ambition. First, the train scene in which Holmes and Dr. Watson had to escape from assassins sent by Professor James Moriarty (Jared Harris) wielded a certain level of suspense mixed with glee. Of course, given that the train had a lot of small spaces, the script capitalized on the weird sexual chemistry between the duo–some angles taken from typical pornographic positions–which I found hilarious. Second, the chase scene through the woods as Holmes, Dr. Watson, and Madam Simza Heron (Noomi Rapace), a gypsy fortuneteller, evaded bullets, cannonballs, and rockets was quite inspired. I found it a standout because the slow motion highlighted the artistry of the action scene instead of merely bombarding the audience with quick cuts. It was interesting to see certain images like how a bullet scraped a tree and how loamy soil fell onto the characters after a cannonball hit the ground with great force. The scene was a nice change from boring hand-to-hand combat where choppy editing met a vague semblance of martial arts. Why wasn’t uninterrupted physical combat shown more often? Furthermore, the flashback scenes were as ineffective as the sequences where Holmes weighed how a battle would play out. By allowing us to see what would or could happen next before it actually happened, the filmmakers left no tension for us to bathe in. Both the flashbacks and fast-forwards were not used as astutely–in this case, far from sparingly–it should have in order to increase the drama. Directed by Guy Ritchie, the biggest problem that “Sherlock Holmes: A Game of Shadows” suffered from was although it had a lot of fun on the outside, it needed to work on real emotions so the audiences would be more invested in whatever was going on. Since it failed to inject gravity into more serious moments, when a key character died, for instance, it felt like a mere plot convenience than a genuine loss of a character some of us have grown to like.