The puzzles in “Anola Holmes” aren’t particularly difficult, but they’re enough to stump the great Sherlock Holmes (played here by “Man of Steel” star Henry Cavill). To solve this particular mystery – including the disappearance of Detective’s mother Eudoria (Helena Bonham Carter) – she will need an even sharper intellect than Sherlock, which we will find in the form of her spongy little sister, Anola (“Stranger’s Mili Bobby Brown”). “), An undisclosed country wildflower that has spent its first 16 years on earth just preparing such a case, although at the time she did not realize it.
Enola may not be like a calculated or slightly easy-going woman, but her lack of sophistication makes her uniquely suited to the type of sleeping that is required for this franchise-ready Netflix feature. To disguise himself as a boy he takes the imperfections of gender standards into the late 19th century, for example; Trained in the art of Jiu-Jitsu to challenge a villain wielding a gun with his bare hands; And the optimist (or other naive) is enough to believe that he can do anything, to do everything that this challenge demands.
Adapted from the first installment in Nancy Springer’s six-book series, “Anola Holmes” modernizes Sir Arthur Conan Doyle’s Victorian world, “Fleebag” lists director Harry Bradbeer to bring a similarly ventilated, direct address approach to content. A socially disjointed character who is not at all uncomfortable on camera, Anola acts as her own storyteller, breaking down the fourth wall while repeatedly speaking to the audience, or looking in our direction – a style clearly modeled after the secret. Has come. US “Swar Bradbir and star Phoebe and Waller-Bridge struck in” Fleebag “.
“Anola Holmes” offers a different kind of feminism from that game-changing show, which is less about accepting women with all their flaws than men have long believed, and it’s time to make room for others. Centered around the long-haired fugitive god (Louis Partridge) and passing the Great Britain Representation of the People Act 1884 (which paved the way for women’s suffrage a quarter-century later), the film has similar issues of gender equality in mind. – and darling radical protagonist in Anola.
Although it was her mother’s incomprehensible sorty who encouraged her adventure, it is the equally bizarre appearance of Partridge’s character – a handsome young lord named Viscount Taquesbury, the Marquis of Basilweather – who draws her attention for most of the film. After rescuing the “useless boy” from the killer (Bern Gorman), Anola goes her own way, only to recognize that they are both running away from their families. He wants her to die, and she – especially older brother Mycroft (Sam Cleflin) – is about to send her to a final school for young women.
While the project may be British, it is hardly a coincidence that a story based on these crucial votes on the Reform Act should sink within weeks of America’s most important election in decades. And what could be more empowering than the two messages of the film? First, “you’re not alone” should resonate with the young women in the audience. Anola (whose name, we often remember, is the spelling behind “alone”) becomes a symbol of unity for those who feel like outsiders in their incompatibility. And second, for those old enough to influence the election: “Every vote counts,” at the center of her mother’s disappearance.
A female friend of Eudoria’s expelled Sherlock, saying, “You don’t know what it means to step out of power. In 2020, it is clear that calling a special person to his privilege.” You have no interest in changing a world that It suits you so well. “This may be true, but it’s shocking to see the great Sherlock Holmes – a foremost thinker in science and a pioneer in forensic research – a little more than a self-interested handsome boy who sympathizes with him. The over-portraited 20-year-old younger sister is still behind the desperately progressive trend that embodies Anola.
It’s one thing to reject Mycroft, but Kevil’s casting turns the iconic Sherlock character into what we might call “metrosexual” today: a workout and so carefully groomed can easily be mistaken for a gay – distant voice tweed -From Claude, DearStalker-Capped Dandy of Yours. Brown, on the other hand (who may have passed for the sister of “Sherlock” star Benedict Cumberbatch) brings some discomfort that we traditionally associate her role with the role-spying victim: Anola was never provoked by her mother as a polite society. , And as such, she is to present the female intellect in its natural, unbearable state. Her acting may be contradictory to the era, but that’s hardly a bad thing. Brown’s acting style, reminiscent of the impressive spontaneity that Cara Knightley brings to “Sense and Sensibility”, breaks down the straight-laced property of many Janus Stain adaptations before her.
Here is a Victorian movie in which he never once heard a study rumble. Instead, we’re treating the smorgasbird for knocking on doors, smashing cars, and smashing heads – not to mention the warehouse full of explosives, which shows the most spectacular fireworks that London has seen at that point. Despite making room for such a bombing, Guy Ritchie’s “Anola Holmes” remains weaker and tastier in her high-energy storyline than the latest “Sherlock Holmes” movies, and even more entertaining than last year’s “Nancy Drew” reboot.
What is missing is the simple satisfaction of solving a case. Aside from using her noggin to untie the initial key associated with her mother’s chrysanthemums, Anola does most of her detective work on her fly, depending on her memories or her feelings. Director Bradbeer and Editor Adam Bosman to D.P. Promoted by Giles Nutgens’ dynamic camera, whose CG-embellished widescreen composition “Kingsman” -spack pop-energy replaces Stuffy Merchant Ivory-Esk locations. “Anola Holmes” seems every bit as appropriate for sequels as the franchise, and could benefit from follow-ups, as it ends with a settlement of the Texbury case, and further investigation into Mrs. Holmes’ motives is needed.
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