Enola Holmes ★★½

"Our future is up to us."

I'll preface with the notion that its biggest problems might have something to do with the arbitrarily conceived source material but this overtly twee and frequently messy adaptation's serviceable enough in its aims. We have the requisite feminist through line citing Enola and her mother's individualism as impropriety in a time and a place, leaning on the former as probably the most effectual part of all of this as the action and core mystery are plain bland and detract from Enola's delightful fits of self discovery. The jumpy stylistic anachronisms and fourth wall breaking do little to enliven stilted period and thematic trappings but Brown's just so effin' charming as she routinely bats away all forms of oppression. The especially palpable staleness is also a byproduct of Enola continuing her brother's legacy in a manner not unlike his, and having him appear as much as he does throughout sort of steals the limelight from her as a new legacy's haphazardly forged. Cavill's meh but Burn Gorman as a shadowy, murderous psychopath and Claflin reprising the role of toxically masculine and self-important asshole archetype are small delights as is the absolute banger of a score.

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