Critics Consensus: Guy Ritchie's directorial style might not be quite the best fit for an update on the legendary detective, but Sherlock Holmes benefits from the elementary appeal of a strong performance by Robert Downey, Jr. Critics Consensus: Sherlock Holmes: A Game of Shadows is a good yarn thanks to its well-matched leading men but overall stumbles duplicating the well-oiled thrills of the original.
Critics Consensus: Mr. Holmes focuses on the man behind the mysteries, and while it may lack Baker Street thrills, it more than compensates with tenderly wrought, well-acted drama. Synopsis: Legendary detective Sherlock Holmes and his partner Doctor Watson return for a comedic take on their classic literary partnership, as...
Critics Consensus: Nola Holmes brings a breath of fresh air to Baker Street -- and leaves plenty of room for Millie Bobby Brown to put her effervescent stamp on a franchise in waiting. It’s been a raucous ride hanging out with Sherlock Holmes (Benedict Cumberbatch) and Dr. John Watson (Martin Freeman) over the past four seasons and almost seven years.
As we learned in the most recent episode of Sherlock, emotional context matters, which is why “The Empty Hearse” was such a disappointment. After a Season 2 cliffhanger that saw Sherlock fake his own death in front of John, breaking his best friend’s heart, this episode had one major job: to deal with the emotional fallout from that decision and Sherlock’s inevitable return satisfyingly.
“The Empty Hearse” was the first episode of Sherlock that really failed at what it needed to do, marking an unfortunate downturn in quality (or, if you’re being generous, a shift in the kinds of stories this show is interested in telling). Inevitably, Sherlock manipulated John into forgiving him by making him think they were both going to die in a fiery explosion, which is not really how emotions work.
John is then forced to decide if he will forgive his pregnant wife for her deception (and, you know, for shooting his best friend). In addition to it all, Sherlock works to get Mary (and, by extension, John) out from under Charles Rasmussen’s thumb.
Like much of the rest of Sherlock Season 3, “His Last Vow” had some good moments, but was weighed down by its larger-than-life plot twists. When a message from Moriarty shows up, Sherlock’s exile to Eastern Europe minutes into the trip is canceled.
By painting extreme intelligence as this frightening problem, the episode lands a vague assertion that once a person hits a certain level of genius they are automatically a sociopath, incapable of seeing the value in life and morality (not a fascinating or accurate assumption to go on). When you’ve spent an entire television show proving that just because Sherlock and Mycroft Holmes are smart doesn’t mean that they don’t have feelings or value people, drawing their sister in a way that deliberately conflates her remarkable intelligence with an ability to place value on life is neither smart nor believable.
Of course, this all proves to be a frame tale when, halfway through the episode, it’s revealed that we are actually inside of Sherlock’s mind palace. The detective is still on the plane we saw him on at the end of “His Last Vow,” trying to decide if there is any chance Moriarty is still alive by playing through an unsolved case of a woman who seemed to rise from the dead to kill her husband in Victorian England.
It’s a drug-induced thought experiment, a world and set of characters that are hugely informed by Sherlock’s own reality. What’s less effective is the mystery itself, which starts off well enough, but soon devolves into Sherlock mansplaining proto-feminism to a bunch of murderous Suffragettes.
In the end, “The Abominable Bride” had its delights (not to mention classic Holmes references), but it was hard not to reconcile the necessity of an “It was all a dream” episode when we get so few installments of this detective drama to begin with. The Season 1 episode you probably don’t remember that well, “The Blind Banker” is a vestige of a show that was at its peak creatively, but still managed to fall into some seriously lazy Orientalism.
“The Blind Banker” is the second installment of the detective drama, and the first episode that really sees Sherlock and John settling down into some kind of crime-solving-roommates routine. This was a simpler time, when the show was still grounded in reality, when John had fights with self-checkout machines at the supermarket and went on bad dates with his clinic boss, Sarah, that turned into kidnappings.
Their co-dependency has officially begun, but it's in the throes of its honeymoon period so, even though in hindsight you know it’s going to cause some serious problems down the road, you can’t help but get caught up in the giddy wonder of it all. It transcends the typical TV case-of-the-week episode, however, with some nice character moments, as we see both Sherlock and John forced to deal with real, raw fear.
It’s also refreshing on this show to get such a direct translation of one of Sir Arthur Conan Doyle’s original stories. Ultimately, the “Hound of Baskerville” is a fun, memorable episode of Sherlock that isn’t overly ambitious, but tells an entertaining, grounded story.
Also, the always welcome Russell Today appears as poor, frightened Henry Knight, which gives this episode extra guest star points. Toby Jones brings what could have been a lackluster, underdeveloped villain to chilling heights with his performance, as Sherlock uses the master criminal to manipulate John Watson into forgiving him for Mary’s death.
It’s a classic Sherlock move that makes his character less and less likable the longer you think about it, but also serves to provide an over-arching focus for this episode, which has become a rarity in recent seasons. “The Lying Detective” is also one of the few recent episodes of Sherlock to effectively pull off a twist that is both surprising and interesting with the reveal of Euros Holmes.
Though the character would go on to be sloppily and inconsistently developed, her turns as a fake Faith Culvert on and John’s German therapist in “The Lying Detective” are masterful. And, again, though the cliffhanger that sees Euros shooting John after revealing her identity to him is anticlimactically resolved off-screen, it was a chilling end to this episode.
Perhaps the best part of “The Lying Detective” was its return to a novel, cohesive visual style that made early episode of Sherlock so impressive. In Sherlock’s absence and John’s grief, Lestrade seemed to step up to do a lot of the emotional labor.
The conclusion to Sherlock Season 1, “The Great Game” was the episode that tied the Moriarty clues together and gave us the first appearance of the consulting criminal played masterfully by Andrew Scott. After a season of relative low-stakes fun, everything became much more intense in “The Great Game” as Moriarty led Sherlock on a devastating goose chase where real people’s lives were at stake.
Inevitably, Moriarty kidnapped John and strapped some bombs to him for good measure, forcing a hostage situation that articulated just how much these two had come to mean to one another over the course of their short friendship. Thematically, it was the perfect cap to the season, hammering home the point that, while Sherlock might act like he doesn’t care, he really, really does.
Also known as the one where John Watson and Mary Morgan get married, “The Sign of the Three” uses Sherlock’s best man speech as a frame tale for much of the action of this episode, as he tries to solve the case of The Mayfly Man in front of an entire wedding hall of people. Refreshingly, it doesn’t present Mary as an obstacle to their friendship, but rather incorporates her into the two-now-threesome, while also giving some time to the central duo.
Still, up until that point, “A Scandal in Belgrade” is sheer genius, a visually-mesmerizing hour of television that starts with a refreshingly anti-climactic resolution of the Moriarty cliffhanger, and goes on to explore how one person can unsettle Sherlock’s stubbornly-held beliefs about himself and the world. It does all this while also giving us a nice helping of 221B Baker Street’s goings-on (including a memorable visit to Buckingham Palace).
This is the real mystery that needs solving in “A Study in Pink,” as John Watson gathers evidence for us from people like Greg Lestrade, Sally Donovan, and Mycroft Holmes. There’s something heady and addicting about the idea that Sherlock Holmes is the true mystery of this show, and no one but John Watson has ever stuck around long enough or been given enough vulnerability to answer it.
“The Great Game” may have been the first Sherlock episode that upped the stakes, but it was “The Reichenbach Fall” that pulled the trigger. If post-Season 2 Sherlock has too often been a show without consequence (and, therefore, without a tangible sense of stakes), then “The Reichenbach Fall” demonstrated how good Sherlock can be when every decision, every action has weight, like when there is no easy or good solution, only the lesser of two terrible choices (something “The Final Problem” tried to repeat, badly).
It started with Moriarty’s stylish robbery “attempt” of the Crown Jewels and slowly escalated until every one, but John Watson believed that Sherlock was the criminal. “The Reichenbach Fall” cliffhanger may have been poorly resolved, but it kept fans talking for literally two years as they waited for the next episode.
69: Armies Hammer's Career Crisis, 'The Sandman' Cast and 'Tomb Raider' Galore Jeff also weighs in on Jared Let's new movie 'The Little Things' and HBO's crime series 'The Investigation.' From his first appearance in print in 1887, Sherlock Holmes has spent more than a century facing all sorts of villains, solving a myriad of mysteries, and sharing quips and retorts with his trusted companion, Dr. John Watson.
Alongside the legends of other British heroes like Robin Hood and King Arthur, the tales of Sherlock, Watson, the dreaded Moriarty, and their fellow London denizens continue to pop up in endless forms of cinematic and televised storytelling. This canon has been added to as recently as 2020, with the Netflix FIM Nola Holmes, starring Millie Bobby Brown as the sister of the intrepid detective, here brought to life by Henry Cavils.
While Downey's take on Holmes in the Guy Ritchie -helmed Sherlock Holmes films does have some issues, there's no denying that his usual charm and idiosyncratic style of performance creates a fun, offbeat take on the British detective, especially when paired with an equally game Jude Law as his Watson. In Ritchie's world, Holmes is just another Quincy action hero, turning the detective into a hulking, tough guy boxer type, replacing wit with buffoonery and style with muscles.
Though his Watson here is brought to winning life by Jude Law, Downey's Holmes leans too much into the style of generic blockbuster heroes, rather than the Baker Street detective we've become so accustomed to. All is revealed in this story, where the young Holmes is brought to life by Scottish actor Nicholas Rowe, who was not even 20 when he filmed this role.
Rowe is a fun, youthful Holmes, adrift in an eerily strange adventure involving stained-glass ghosts and Egyptian curses. That changed when celebrated director Billy Wilder (of Some Like it Hot, The Apartment, and Sunset Boulevard fame) came onto the scene with his late-career take on the British sleuth: 1970s The Private Life of Sherlock Holmes.
Much-beloved London stage performer Robert Stephens takes up the mantle this go-round, creating a Holmes unlike any other. Wilder's take leans heavily on the comedic aspects of the Holmes legacy, creating something closer to a studio comedy than a dramatic mystery.
But Stephens is more than able to handle the trademark Wilder wit that's at play, tackling every barbed witticism with the necessary seriousness and comedic timing it needs. We all know that Sherlock Holmes spends his days busy with work as London's top consulting detective.
Unsurprisingly, McAllen shines in the tragic role of a Holmes desperately grabbing at the last vestiges of his remaining sanity, even if the film he's in less resembles The Hound of the Baskerville than it does Still Alice. Transplanting Sherlock Holmes from the streets of 19th century London to 21st century New York, Elementary follows modern-day detective Sherlock Holmes (Jonny Lee Miller) as he brings his deductive expertise to the assistance of the NYPD, primarily in collaboration with Dr. Joan Watson (the incomparable Lucy Liu).
Miller's Holmes is a recovering drug addict, which lends some additional intensity and dimension to the character. But Elementary definitely has some fun contemporizing the Holmes stories (including Natalie Dormer providing a fresh take on the villain Moriarty), and Miller is a wonderfully oddball performer that brings humor, humanity, and a ton of heart to this modern detective show.
His performance creates a detective whose dedication to the mystery at hand, while removing some comedy of the role, results in a uniquely compelling sleuth. Chances are, when you hear the name Sherlock Holmes,” your mind jumps to either the lovable scamp that is Benedict Cumberbatch (we'll get to him soon, promise) or the recent Robert Downey Jr. punch-fests.
Here, Basil (voiced by Barrie Ingham) provides a wonderfully faithful mouse version of the famed detective, balancing his deduction skills, nimble fighting, and veiled madness into a delightful concoction of a main character. He faces off against one of Disney's all-time greatest villains, Professor Vatican, devilishly voiced by Vincent Price.
Cumberbatch met the challenge of bringing Sherlock to the 21st century with gusto, and his stylish, witty, one-of-a-kind performance emerged as nothing short of iconic. It's a wonderfully faithful adaptation, and what it may lack in any sort of reinvention or overt stylistic interpretations, it more than makes up in Brett's fantastically authentic performance, bringing to life what could be called the “definitive” take on Doyle's character.
HI's droll, dry, witty-beyond-comprehension read on Holmes feels as fresh as ever these days, and made even more impressive that he was able to carry this performance over the course of a decade.