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|Index||27 reviews in total|
After a splendid first (too short) series, I was really looking forward to this. Did it reach my expectations. No, it actually surpassed them. Brilliant writing, direction and acting from all the cast. Not one duff point. A superb story with lots of in-jokes for Holmes enthusiasts, but even if you are not familiar with Holmes you will love it. I like the way the writers utilise a previous story and bring it up to date and actually improve on it ten-fold. The devices used to point out the Holmes powers of deduction are very good and apt for the digital age. Really looking forward to upcoming stories. Let's hope there are many more to come. Even if there are not, what is on offer is so richly rewarding it will bear repeat viewings. After this the Beeb can be (almost) forgiven for the dross of "Bleak Old Shop Of Stuff". This is how to bring a classic up to date and make it relevant, exciting and funny. Deserves 20 stars
After a long wait, here finally is, the new Sherlock. And I must say it was worth the wait and a really good beginning of the year it is. So what to say about it? The answer is nothing because if I wanted to describe to you all the interesting points I would spoil it for you, and I am not going to do that. Just watch an be prepare not to blink the whole time. Because acting is superb, storyline so nicely thought out that incorporates the feel of the books, the energy of the actors so vivid and believable that you start to wish for Sherlock being real. BBC outdid themselves jet again. Next Sunday cant come faster :) And I will be waiting, glued to the chair.
Yes, it may be a slight bit premature, but I'll already call it based
on my own arbitrary rules: A Scandal in Belgravia, despite being
released on TV and now on DVD, is one of the best films I've seen this
year. It is film length, we can agree on that, at 90 minutes it feels
and is plotted out to be a feature film (albeit still in line with the
continuity of the show due to it taking off the cliffhanger from the
end of season 1, and a damn good one at that with Moriarty in the
swimming pool). Within its own dimensions it works as a film, and
writer Steven Moffat fleshes out the emotional stakes of the hero (or
as much as can be with Sherlock Holmes) as he is up against a new and
surprisingly dangerous adversary: "The Woman" Irene Adler.
How he comes upon Miss Adler is a mystery unto itself, except when we discover (though only later does the hero) what her connection is within the world of Sherlock. But not too much on that, that would spoil the fun. In this story, Sherlock, after getting out by chance/luck/huh from Moriarty's grasp, he takes on - or tries to take on - new cases, and all mostly for naught. While on a potential new case he is plucked out by secret service (and in just a sheet no less!) and is given the new case with shady intonations by his brother Mycroft at the palace: Miss Adler, a dominatrix (which Holmes needs a moment to process what that is), is behind some kind of secret with photographs, and Sherlock is only told so much. When he goes to see her, and following a very funny 'disguise' by having Watson hit him so he looks like he was just beaten up to be taken in for a moment, she appears "ready for battle" as she puts it to her assistant. How is this, you might ask?
Naked. Stark naked. When Holmes looks at her - another big laugh via Moffat's script - it's all question marks, which is unusual for Sherlock's super-incredible keen sense of seeing everything on a person like a computer. But the s*** gets deeper when a burglar comes about to get something from her safe, fight ensues, and then... well, all I'll say from here is that a certain ring-tone is put in Sherlock's phone of a female's 'pleasure' sound, and a game ensues over months between Sherlock and Irene. To put it bluntly about how good this episode is - if Sherlock is Batman (ala Moriarty's Joker or possible Riddler), then Irene Adler is Catwoman. She is an adversary, yet while she is a villain she can use her sexuality as a powerful tool against a man who may have intellectual prowess, but emotionally is not really all there.
Indeed this Batman/Catwoman dynamic is far different in this sort of case since Sherlock, or how Benedict Cumberbatch plays him and how Moffat writes him and Paul McGuigan (brilliantly) directs him, is with a big touch of asperger's. Or, rather, his genius comes with a sort of personal-emotional price with it. There are some twists along the way that Moffat lays out with the characters - some, frankly, will leave you slack-jawed in the best possible way - but it's really about this unlikely bond, this chess game that is played out in (not) dinner-time, and who wins will really be based on who loses control. We don't see much of Adler doing her 'dominatrix' thing (frankly, one scene where she is whipping a character is enough to get the point across, and it's very funny to see it), and really it's all on Lara Pulver's eyes, connecting (or trying to) with Cumberbatch, that gives the episode its edge and spark. Already the show is fantastic with its lead and Martin Freeman. With Pulver, it's another big notch on to the quality of the acting and electricity in the air, so to speak.
It's just sharp storytelling, some great twists and turns (some may or may not be surprises to those who've read A Scandal in Bohemia, which this is based upon), and that the story not so much takes a backseat but plays so well concurrently with it as a character piece that makes it such a smashing success (not just Holmes and Adler but little things between Holmes and Mycroft or Watson and his, uh, what's her name, the latest girlfriend, y'know). On top of this, because it's a sort of romantic piece, Moffat gets to have a lot of fun with little beats in the dialog, it's more than amusing about an emotionally-stunted man finding a romantic bond, and we have fun seeing where it could go. It's a lot of fun, but the filmmakers also never lose sight of making these characters matter deeply. The end is especially moving (albeit, yes, with one more twist, but hey why not).
The BBC now and again produce a show that is worth the license fee and this is one of them. Sherlock Holmes in the digital age with a plot that keeps you in suspense all the way. Holmes and Watson investigate a case of blackmail threatening to topple the monarchy and uncover links with international terrorism, rogue CIA agents and a conspiracy at the heart of government. However, the Baker Street sleuth finds himself involved on a more personal level when he becomes locked in a battle of wits with Irene Adler, a woman who is as cold, ruthless and brilliant as himself......Benedict Cumberbatch (Holmes) and Lara Pulver (Irene)ooze a hidden sexual chemistry that keeps the plot ticking along at a dramatic pace.....Looking forward to the next show on Sunday 8 January 2012.
One of the best things I have even seen in my life! Wonderfully,
stunningly, incredibly, smartly, cunningly, shockingly, beautifully,
fabulously, shiveringly, amazingly GOOD! If it is possible to have an
orgasm while watching something this is as close as it gets!
This is great as a detective story. Wonderful as a drama. Pure as a research on human mind. This is incredible in so many ways it's hard to explain...
Technically perfect. Storytelling, editing, acting, directing, crafts - everything and every little details at its heights.
With no doubts one of the best adaptations of Arthur Conan Doyle's work ever made in history of Cinema and TV.
I can't believe I had shivers and tears while watching this...
To call it a episode would be shame....it is worth more than a
movie.... Truly 90 minutes of awesomeness.......it got all what u want
to see in any drama....STORY INTELLIGENCE COMEDY ACTION
EMOTIONS......boyyyyy one of the most thrilling episode i have ever
Storyline is one of the best scripts ever written....cinematography is awesome...direction is good....acting is great...especially THE WOMAN...
And about end...god..what an end....made me cry....so romantic...woooo....
So I waited waited for it a long time and Moffat did not disappoint me(which he did with the Doctor Who Season 6 Christmas Special)with this new season.So I wont spoil it for you so what we have in this 90 minute thrill is a blackmailing,conspiracy against the government,CIA agents gone rogue and more and by more I seriously mean more when Holmes comes across a woman well "The Woman"(Irene Adler) who has a level of similar intellect like Holmes and well there is sparks flying all over and yes if you are still trying to figure what happened to Moriarty then you should watch it as i guaranteed this review wont have any spoilers.So I give it a 9.5 from my side and I cant wait for my next encounter with the "Sleuth for the 21st Century" our very own Sherlock Holmes from 221B Baker Street.
BluntReview says:Brains are indeed the new sexy
and Sherlock Series Two
delivers multiple, err, pleasures
In fact it's a trifecta for the brain
endorphin-wise. You get a heaping helping of raw sexy, mystery and
intrigue complete with scary bits, and the finale serves up a
gut-wrenching thrill. And Sherlock Series Two's three new films dare to
step forward into the Doyle Classics; Scandal in Bohemia, Hound of the
Baskervilles and Reichenbach Falls.
Oh, yes, they went there, and the reworks work. Hell, they've even neatly managed to work in the infamous deerstalker! It's hard to top the phenom the whole production crew brought us in the first myth-shifting series. I mean they had to approach concisely the bromance, the modernization and of course nod to all us Holmesians with our self-righteous eyes looking for any flaw; complete with the "Why I oughttas" awaiting. But, worldwide we were quietly awed then thunderously applauding.
We are brought back in with, 'A Scandal in Belgravia.' Of course the title is obvious. And the "plot" is about royalty and scandalous pictures. Normally a yawn, ah, but not here there Johnny. Sherlock (Benedict Cumberbatch) and Watson (Martin Freeman) run around in glorious subplot land as the real focus is on one woman - The Woman - Irene Adler (Lara Pulver). All the series of films thus far has attempted to knock you upside the head with how not gay Watson is, but, have left Sherlock up to one's imagination. Is this man an Elder Virgin or perhaps But as we shall all discover all the lad needed was an equally brilliant brain-force and some good old-fashioned gorgeous-to-boot looks thrown in and he too can be befuddled by the opposite sex. Purr. Snap. (<- if you know what I'm typing here...and I think that you do) The acting in these sexually-fueled frames is particularly brilliant from the trio; S, J and I. Watch the eys and tells.
Next up is The Hounds of Baskerville. Now how on Earth are they going to manage this work you may harrumph aloud as the film starts. Fear not, they have and quite (as we are coming to expect) brilliantly. Clever is too mundane a word. Brilliant too used. Let's just go ahead and say it. But, here, the word is neither over used or quaint. The film is genius.
Oh there's something going on out there on the moors alright Joe, and you'll have eyes fixed upon the television wondering just what this hound thing is anyway! There are some clues: Baskerville is now a military testing area, and strange people do strange things, the townsfolk don't mind having a dog beast for fiscal intake purposes, and one young man has a long history with the hound .which would have to be either on a third generation, or twenty odd years old and still running about tearing poor moor wanderers apart like an old chewie toy. And, thankfully, there's plenty of foggy atmospheric additions to help your psyche go along for the hunt.
Finally they've attempted, and succeeded, in The Reichenbach Fall re-imagining. This film is so completely thrilling, I forewarn you not to eat prior to viewing or your tummy is sure to burp and bother at you in protest through out.
Moriaty (Andrew Scott) is back and he's even more twisted and riddled up in a conundrum then when we first met him temper-tantruming about at the pool. Moriaty is the Yin to Sherlock's Yang. He almost steals the show both actor and character. Seething evil and diction the actor is given some of the smarter bits ever caught by a lens. This Scott fellow can act. Yes he can.
The premise, or plot, starts to shape up to be about how once an idea is planted in one's mind there's no uprooting. Kind of like you can not un-hear something. That's really all I can say without slipping the game up.
Be aware R Falls' end is sure to leave you utterly breathless and perhaps stunned with a tear or two rolling down your face .I'm just saying. I can say no more.
Except to say, the characters you've immediately come to know and enjoy are all back and in the crispest of form from Series One; Mycroft (Mark Gatiss), Mrs. Hudson (Una Stubbs), suffering Molly (Loo Brealey) and Lestrade (Rupert Graves).
DVD kit bonuses include a short on behind the scenes where cast and crew share the warmth of reception and show you how they shot a few really swell scenes and audio commentary.
Once again I bow to all in and around the production for a tremendously entertaining few evenings.
Snack recommendations: Pack of cigarettes for Scandal - or a few nicotine patches...frankly, what ever you enjoy post coitus;)
"i was hooked the entire way. man and when it ended i pulled my hair and said wow for minutes on end, m lips trembled, my heart raced. the best thing ever! wow! The best!"-that's what i said after i watched this episode which is by far the best episode of the season in my opinion. The only reason i even registered was because i wanted to rate and review this episode since this is a true genuine epic masterpiece! i seriously don't have words to express the awesomeness of it; probably because I've just watched it and I'm still shaking but even if just for the sake of watching this episode watch the show. wow! This might just be one of the best episodes in any TV show of all time. Maybe one of the best movies too!
As someone who has only recently stumbled onto this BBC/PBS series via Netflix, I have to say it has ruined me for US hour-long dramas. When compared to the craftsmanship of this episode--which is the most perfectly constructed of the uniformly engrossing first six--I feel as if American mystery script writers (don't even talk about the weak and 'Sherlock'-referential "Elementary"!)seem to throw plot misdirection randomly at the fictional wall, hoping something will stick. In the word-count I'm allowed here, I cannot (but wish I could--maybe I'll start a Moffat-babes blog) write an essay on how perfectly this episode is constructed. I don't even have a problem (as some here do) with how breezily the tense conflict with Moriarty left over from the first season is dismissed; in large part, since he's already shown himself as capricious--he wouldn't want to lose (not yet anyway) his 'dancing' partner--and because his exit fades so beautifully into the Irene Adler story, the shortness of the pool scene works perfectly for me. One of the real marvels of this episode comes from watching it more than once; it's only then that you catch how perfectly Moffat has set up his parallels--Sherlock is inappropriately naked in a formal setting at the beginning/ Irene, in her own drawing room. Sherlock peruses photos of the partially clad Irene provided by one 'archenemy' at the same time she scans through sheet-wrapped snaps of him sent by the other. "Battle dress", defrocking, the meaning of disguise, what Sherlock and Irene each know and learn about love--all these echo throughout the plot. But from the moment Sherlock is taken to the jet and Mycroft reveals, through two terse synopses, how his little brother has been played for a foolish young swain, we are entering deep dramatic territory indeed. Irene pushes by Sherlock; now the game is on for her, he seems to have become merely 'Junior' and 'the Virgin', someone she will keep on a leash for her own entertainment when she wins this final battle. He is relegated to a chair set away from Irene and Mycroft as the grown-ups play for keeps. So his brilliant deduction that her 'locked' camera phone reveals her heart, thereby making her vulnerable, is a moment of such high drama, mixing a weird kind of glee in the audience that he's back on his game and yet a true horror of how cold he is as he sacrifices her, that I have replayed it again and again. Moffat in the DVD commentary was worried that audiences would guess the 4-letter code that unlocked the phone from the beginning. Not only was that never true, but I find that, even knowing the solution, when I watch that section again (and again), I am freshly amazed by the writing, acting (Pulver's spilling eyes, Cumberbatch's shaded face), the score, and both the exaggerated hand movements (so intense, it moves through Cumberbatch's whole body) and the muffled crashes of doom as Sherlock types in each letter. (Kudos to director and editors as well.) The pause for a moment of (could it be?) honest emotion from Irene just before he types in the last letter and Sherlock's adamantine coldness as he says, "And this is just losing", as the last key rumbles ominously, is riveting at so many levels. I suppose the Kandahar ending is necessary to take this out of the realm of dark tragedy and remind us we must like Sherlock again in order to continue with the series. Moffat has said that, since they are both equally-matched games players, they likely just occasionally think back to that year when they had that flirtation fondly, as something gone by. I like to think that Sherlock's mysterious ability to keep track of her so as to be there to save her will continue; it is a measure of how Sherlock, like the Grinch, is beginning to grow a heart, even if belatedly.
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