Enola Holmes ★★½

Sir Arthur Conan Doyle created a flawless sandbox with Sherlock Holmes. The characters are so brilliantly realised that they are timeless creations that remain inspiring to storytellers. Enola Holmes is but the latest example of this. A film that frames itself as a Holmes story updated to fit the sensibilities of the world of 2020. No, the characters aren’t all wearing face masks. It’s a film with a strong feminist centre that is driven by the new character of Enola Holmes, Sherlock's sister, played by Millie Bobbie Brown. Good stuff. Fresh takes. I really like all of this.

Unfortunately, there’s no intrigue to be found. The prominent story is a missing person case that seems about as perfunctory as they come. The second is a light puzzle that wouldn’t be out of place in Scooby-Doo. If you’re going to play in this particular world then you need to tighten up your mystery storytelling. 

From the offset, there’s an obnoxious breaking of the fourth wall. Oliver Hardy, Ferris Bueller, Henry Hill, Magnum P.I. (don’t dis). There’s an art to this stuff. You can’t just make it into some absurd personality trait. It needs to have meaning. It took me completely out the movie to have our central character endlessly looking at/talking to the camera, at times seemingly without calculated reasoning.

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