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After finally catching serial killer and occult "sorcerer" Lord Blackwood, legendary sleuth Sherlock Holmes and his assistant Dr. Watson can close yet another successful case. But when Blackwood mysteriously returns from the grave and resumes his killing spree, Holmes must take up the hunt once again. Contending with his partner's new fiancée and the dimwitted head of Scotland Yard, the dauntless detective must unravel the clues that will lead him into a twisted web of murder, deceit, and black magic - and the deadly embrace of temptress Irene Adler. Written by
The Massie Twins
Several of the film's details recall "The Adventure of the Mazarin Stone". The first is the name of the primary antagonist, Lord Blackwood, which parallels that of "Mazarin Stone" villain Count Negretto Sylvius (Negretto is Italian for black, and Sylvius is Latin for woods). (As Holmes scholar W. W. Roberts notes, this is "presumably a private joke at the expense of Blackwood's Magazine, long and unavailingly courted by Sir Arthur Conan Doyle in the 1880s.") Another common detail is the Crown Diamond, an alternate name for the Mazarin Stone, which hangs around Irene Adler's neck in the film. "The Mazarin Stone" is also the first story to mention that the 221B Baker Street apartment had multiple exits and a waiting room. The extra exit, which was through the bedroom, is employed by Holmes to follow Irene early in the film. See more »
In the beginning of the movie, a plastic shotgun cartridge can be seen in the breech of the shotgun. Plastic shotgun shells weren't introduced until 1960. See more »
Head cocked to the left, partial deafness in ear: first point of attack. Two: throat; paralyze vocal chords, stop scream. Three: got to be a heavy drinker, floating rib to the liver. Four: finally, drag in left leg, fist to patella. Summary prognosis: unconscious in ninety seconds, martial efficacy quarter of an hour at best. Full faculty recovery: unlikely.
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Scenes from the film become illustrations over the end credits. See more »
... not the movie, but the number of self-professed Holmes aficionados who apparently have no knowledge of Holmes. For the record, Holmes was a miserable, irresponsible drug addict who did indeed sleep on the floor, insult his best friend, experiment on his dog, and never ever wore a deerstalker's cap (at least, not until television was invented). He was a brawler who practiced martial arts and was as likely to slum around in the filthiest of rags as he was a suit.
It wasn't until after Doctor Watson took him in hand that he truly refined himself and became a "respectable" member of society. And yes, we can tell that this movie takes place THAT early in their relationship because Watson has not yet married his wife (the retconning did annoy me, too, by the way, but you just can't avoid a little re-imagining here and there).
Speaking of unavoidable, Irene Adler, Holmes' one uncapturable (is that a word?), simply had to be cast as a potential love interest. The flirting, the romance, and the near-make-out session were irresistible to the director (and to all of the audience who're honest with themselves).
That being said, I felt Robert Downey, Jr. played Sherlock Holmes to perfection. His characteristic caustic attitude towards Lestrade and even Watson at times was exactly how I'd imagine him. He gives several summations of his observations and deductions that brought Holmes to life in an almost unparalleled way. His fight scenes (preceded the first few times by superhuman calculations) show both the mental and physical sides of Holmes in ways that Watson's notes can't quite convey, but at which they constantly hint.
As for Watson himself, Jude Law delivered a wonderful performance. I was a little skeptical of how well he fought, given Watson's wartime injury, but his character and demeanor were entirely on the nose. His loyalty to Holmes despite his frustrations with him could not have been captured more expertly, I feel. No one, no matter how patient or forgiving, could endure Holmes forever without the occasional confrontation. The original Holmes, after all, was not above insulting his best friend or even deriding his deductive capabilities at times. Nevertheless, Watson never could abandon his friend in his time of need.
This version (or vision, if you will) of Sir Arthur Conan Doyle's greatest creation may be more swashbuckling, more thrilling, and more edgy than any other incarnation, but that doesn't make it any less faithful to the original. Aside from a little revisionist history in the cases of the female leads, nothing is that far out of the ordinary; and no amount of references to Madonna will change that.
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