Sherlock Holmes

2009

Action / Adventure

Synopsis


Uploaded By: YIFY
Downloaded 182,866 times
December 15, 2011 at 3:00 pm

Director

Cast

Robert Downey Jr. as Sherlock Holmes
Jude Law as Dr. John Watson
Rachel McAdams as Irene Adler
Mark Strong as Lord Blackwood
720p 1080p
799.43 MB
1280*720
English
PG-13
English
23.976 fps
2hr 8 min
P/S 54 / 199
1.70 GB
1920*1080
English
PG-13
English
23.976 fps
2hr 8 min
P/S 105 / 464

Movie Reviews

Reviewed by SylvesterFox007 10 / 10

They Finally Got It Exactly Right!

Nearly hundreds of actors have played Sherlock Holmes and his sidekick Dr. Watson, and it may seem rash to call Robert Downey Jr. and Jude Law the best Holmes-and-Watson-duo so far. But I've been a Sherlock Holmes fan my whole life, and most of the portrayals I've seen of the character only focus on an aspect or two of Sir Arthur Conan Doyle's character. In Guy Ritchie's film, as in Doyle's "canon", Sherlock Holmes is an avid boxer, a martial artist, a dabbler in many sciences, and a master of disguise. Most importantly, he's an expert in logic and deduction. He playfully torments his housekeeper Ms. Hudson (Geraldine James) and shares an antagonistic but symbiotic relationship with police Inspector Lestrade (Eddie Marsan).

The movie opens with Holmes and Watson apprehending serial killing Satanist Lord Blackwood (played broodingly by Mark Strong). Blackwood is executed, but when he seemingly rises from the dead, the deductive duo must determine whether it's a supernatural occurrence or if there's a logical explanation. It's exactly the type of mystery Doyle would have devised, with plenty of twists and opportunities for Holmes to show off his genius as he races to stop a plot to take over England and (gasp!) America. Everything from the experiments Holmes performs in his Baker Street flat to his climatic revelation of the mystery on the Tower Bridge seems perfectly in line with Doyle's writing.

One of the only departures from the canon that bothered me was Sherlock's introduction to Dr. Watson's fiancee, Mary Morstan, played as a delicate English rose by Kelly Reilly. In the stories, Mary was Holmes' client in "The Sign of Four" before Holmes first encountered Irene Adler (Rachel McAdams) in "A Scandal in Bohemia." Then again, the continuity of the stories was rarely important to filmmakers, or even to Sir Arthur, so I'm just nitpicking.

As a film on its own merits, "Sherlock Holmes" is almost perfect. The movie's opening shot grabs you, and Guy Ritchie's directing stays gripping all the way through the end titles. His version of Victorian London is moody and atmospheric. Hans Zimmer's quirky score blends well with the film's tone and Downey Jr.'s off-kilter Holmes. Meanwhile, Jude Law transforms Dr. Watson from the bumbling comic relief of most movies into a cool, competent sidekick. Perhaps owing to his own considerable acting chops, he's the rare Watson who manages to be as interesting and watchable as Holmes. When he leaps into action, he relies on a sword-cane and a trusty revolver, while Sherlock favors a riding crop (which die-hard fans will recall was his preferred method of self-defense in the canon). Rachel McAdams manages to tweak Sherlock's classic adversary into a feisty action heroine. All the while, another familiar adversary skulks in the shadows.

Even when Sherlock Holmes feels a little bit more like James Bond, he doesn't feel any less like Sherlock Holmes. Ritchie finds a way to depict Sherlock's fighting as a mental exercise as much as it's a physical feat. In the same way, though "Sherlock Holmes" is grander and more commercial than Guy Ritchie's usual films, it doesn't feel any less like Guy Ritchie.

Reviewed by C-Younkin 8 / 10

Downey and Law are on the case

Do Guy Ritchie and Sherlock Holmes fit? Why, it's elementary my dear movie fan. This is one of the most entertaining thrillers of the year and the fantastic Downey Jr. and Law are a big part of the reason why. They take top honors as the years best bro-mance, arguing like an old married couple while deep down knowing that they'd be lost without each other. Downey is Holmes and Law is sidekick Dr. Watson, embroiled in a plot where the black-magic-practicing Lord Blackwood (a perfectly grave and menacing Mark Strong) has risen from the dead after being sentenced to hang. Rachel McAdams also shows up as Irene Adler, the only criminal who has ever gotten the best of Holmes.

Downey Jr. brings quick-wit, cunning, and a scruffy toughness to a role long seen as stuffy and dry, while Law a distinguished charm that, at times, spills over into testy aggressiveness (which is funniest at Holmes most annoying). Both toss off the one-liners with ease. Ritchie's directorial style also comes through, from the dark, grimy Victorian- London production values to the violent boxing and martial arts matches. Holmes' mindset (such as the steps he takes to neutralize a suspect, interpret clues, follow the deceptive) also brings out Ritchie's ability to create an ultra-stylized flashback. There are also a few really thrilling action set-pieces involving a boat and an unfinished bridge. The plot, by three screenwriters, is a little on the convoluted side but it gets the job done with plot-twist on-top of plot twist. With all the brutal violence and style, you can be sure this isn't your Grandpa's Sherlock Holmes, but it will have you drooling for a sequel nonetheless.

Reviewed by ruiresende84 (ruiresende84@gmail.com) 5 / 10

Actor, and Placement

Somehow, i've always avoided the cinematic (or TV) presentations of Sherlock Holmes. I find the character fascinating, but i always felt it was more invested in literature, not cinema. His deductions, the way he surrounds the worlds he investigates are a feast for thinking minds. Even when the deductions are over the top (which happens often!) one can't stop smiling at the cleverness. More than that, the character is a perfect piece invested in a clever, irresistible and fascinating world. London. That part is visual, and a good ground to invest a cinematic world. But, unlike for example anything by Agatha Christie, Doyle's cleverness is rooted in pure deductive logic, not on the mechanics of the world. Notice that Christie's crimes are many times a matter of understanding how things happened, spatially (murder on the orient express is the zenith of that). I suppose Doyle formed his mind before cinema had any significant impact on how our minds work.

So the challenge for any modern filmmaker, and actor, who wants to update Holmes, is to make the character more cinematic, more appealing. Several tricks are used here, most of them successful, even if straightforward. One is the most obvious, making Holmes an action character (which actually is in its original dna, even though TV productions usually ignore that). This might be a flop, and make the version laughable, but by now there is a sense of irony and self awareness in Ritchie's films (sincer Lock Stock) that allows him to support a xxi century action figure in Holmes clothing that actually is watchable. A minor trick here is the association of the deduction with the very process of physical fighting, which creates some Matrix moments. Well, their watchable, though not particularly interesting. In the greater arc, there are good action sequences, because, as any competent action these days, considers the elements of the surrounding space, and uses them.

But there are two big things in this film, which take it to new levels of interest.

One is the acting. Jude Law is a clever guy, an interesting actor whose greatest quality is how he merges anonymously with the context he is intended to integrate. He willingly becomes a piece of a larger tapestry, and that really is something to look upon. There are not many actors who can claim they can do this competently. But the king of the game is Downey Jr. He is the gold piece in the puzzle of updating Holmes. There certainly will be a before-after Holmes character, with this film. The man is capable to work his performances on several directions, and each of them is a perfect link to its surroundings. So he gives in to Ritchie's demands, and introduces humour, irony, and self-awareness in the character, to make it usable for the director's winks at ironic action. He invests totally on the creation of a character who merges with the textures of the context, while being distinct from it. And while doing it, he folds us into his game, so we do everything with him, side by side. We deduce, we smile, we run, all with him. So, if the film hadn't other qualities, Downey Jr would still make it worthy, because he, alone, solves one the most basic problems with any film: to find a channel audiences can safely cross into the game someone (director) proposes. He is one of the best ever.

But there is another great thing here, which i suspect has a lot to do with several guys involved in the process of making the film. The result is an incredible sense of placement. London, XIXth century. All those dirty muddy streets, all the dirt. The fascination of the inner locations, namely the midget's laboratory. How those sets are usable, in the action scenes. That's all competent, more than competent. It's perfectly rendered, carefully photographed, it sounds overly artificial, but it's a matter of taste, i suppose. But what was really striking was the use of the London bridge. Notice how it is announced, early in the film, with a similar perspective to the one we'll get in the end. Than, the great sequence, when Irene Adler goes through the sewage, goes up, and we end up with a close up of her, in an unidentified location. The angle opens, we move away, and we are set up in the location for the final fight scene, which in its own merits is interesting enough. So, this was a unique way to actually use an establishing location, instead of merely showing it. I mean, how many films have shown the Eiffel towers? countless. How many actually use it? not so many. This is one of the best London cities we've seen lately.

My opinion: 4/5

http://www.7eyes.wordpress.com

Read more IMDb reviews

210 Comments

Be the first to leave a comment