Sherlock Holmes: A Game of Shadows

If all of the visual tricks, acting exhibitions, screenwriting ideas and fantastic locations were part of a clear and engaging story, this would be one of the top blockbusters of the year. But I really didn’t care about what was happening or what was going to happen next. And what’s the point of those drawn-out, several-minute ultra-dramatic scenes in which Sherlock and Watson are in danger of actually being killed, when we all know that neither one of them can die?! (12/20/2011)

Guy Ritchie at his peak again (albeit a slightly different peak than in the late 90s). Everything that worked in the first one (i.e. excellent conversational duels between the central duo, great slow-motion sequences, excellent period atmosphere, and overall dynamism and looseness) is enhanced here by a more pronounced Ritchie imprint and, of course, a near-perfect Downey and Law + the naked Fry cameo was absolutely unbeatable. It's important to note that while such mainstream entertainment may look like mere sequence of clips in terms of craft (from a certain perspective, a sequence of several consecutive but technically proficient clips), the artistic value inherent in its execution (in short, the formal polish) is so brilliant that it hides the various imperfections related to ambiguous or underdeveloped character motivations and so on... I like to mention this fact from time to time, but in the case of the second Sherlock Holmes, I find the script a very worthy and the motivations of the characters completely sufficient and ultimately convincing. And if anyone claims that the second film is for those "who want to ride the wave of Ritchie's slow-motion and explosions, not caring what actually happens on screen", they should also realize that the story is very well thought out – given its genre, budget, location, and the necessary prerequisite of commercial success, the script is even excellent. And in my opinion, A. C. Doyle would have liked it, at the very least because of Downey's British accent. :) (12/28/2012)

The screenplay was a rushed job and has only a couple of really excellent moments and the conflict of the two arch rivals is not depicted appropriately. But it’s still an entertaining romp full of snappy lines with excellent visuals. Effective slow-motion sequences are in exactly the right place and are breathtaking. The scene with “Hansel" in the forest and the final confrontation (an successfully transformed ending of one of the most important stories) and simply awesome. The story is awfully schematic, chases alternate with fights, and there isn’t much room for any hint of inevitability, even though the material for it is here. (01/11/2012)

Loaded guns, brains in full swing, deduction vibrating at maximum. When Holmes' thought-wrestling escapades conquered cinemas for the first time, I eagerly swallowed every idea of Ritchie's, and when Robert Downey, with a sparkle in his eyes, uncovers a web of intrigues for the second time, I applaud again. Moriarty is indeed the perfect nemesis, capable of threatening the most mundane situation, and in such moments, one needs not only a loyal partner but perhaps also an exhibitionistically tuned brother with a shaky staff. This impressive action-oriented approach simply suits me amidst the faltering Victorian era, and the whole creative team effortlessly navigates through emotions and locations with me. Please, dear Watson, bring on the trilogy. (01/15/2012)

This is exactly how I imagined that a pop culture update by Sherlock Holmes might look. A gourmet experience with a completely exclusive Holmes vs. Moriarty gambit. Despite many mistakes, a beautiful, intense and charmingly deliberate blockbuster, which has what the first film lacked the most... A soul. (12/30/2011)