Sherlock Holmes: A Game of Shadows (2011)

Release Date: 12/16/2011                                                            
Genre: Action, Mystery
Director: Guy Ritchie
Cast: Robert Downey, Jr., Jude Law, Noomi Rapace, Jared Harris

REVIEW
2009’s Sherlock Holmes found unexpected synergy in the pairing of Robert Downey Jr.’s impish charm and Guy Ritchie’s macho, kinetic visual style, reinventing Sir Arthur Conan Doyle’s master detective for a modern blockbuster audience. The follow-up, Sherlock Holmes: A Game of Shadows, employs the same winning formula while adhering judiciously to the Law of Sequels and its more-more-more dictates: more action, bigger set pieces, higher stakes, and a darker, more convoluted plot. But more, as so many past sequels have taught us, is rarely better. Game of Shadows marks the emergence of Doyle’s most famous villain, James Moriarty (Jared Harris). Glimpsed only in darkness in the first film, Moriarty takes center stage in the sequel as Holmes’s foremost criminal foil, a genius-level university professor whose extracurricular interests range from horticulture to homicide. Holmes has deduced him to be at the center of a wave of terrorist bombings as well as the seemingly unrelated deaths of various titans of industry, but can’t quite discern just what the professor’s endgame might be. Composed and calculating to a menacing degree, Harris makes for a promising counterweight to Downey’s manic verbosity. But, as in the first film, Game of Shadows’ best moments are found in the comic interplay between Holmes and his reluctant sidekick, Dr. Watson (Jude Law), who is plucked from his honeymoon to accompany the detective on a trans-continental trip in search of clues to Moriarty’s machinations. And it’s very much a boys-only trip. The female leads from the first film, Rachel McAdams and Kelly Reilly, are tossed aside – literally, in the case of the latter – in Game of Shadows, while the cast’s highest-profile new addition, Swedish star Noomi Rapace (best known as the original, non-emaciated Lisbeth Salander) is a curious non-factor in the role of a Gypsy (or Roma, if you prefer) fortune-teller. The film maintains only the slimmest pretense of a romantic subplot between her and Downey. Rapace, looking perhaps a bit lost in her first English-speaking role, can’t hope to eclipse the Holmes-Watson traveling road show. Ritchie’s technique, with its signature blend of rapid cutting and slow-mo and super-high frame-rates – perfect for admiring the odd apple tossed in the air, or a piece of bark shot off a tree – is once again evident in the film’s awe-inspiring (and occasionally coherence-defying) set pieces, the most memorable of which is set in a munitions factory, with Watson wielding a gatling gun like an early T-600 prototype. But some of the novelty of the stylistic juxtaposition has faded since the first film. Ritchie tries to compensate by ramping up the firepower, to limited effect. Absent amid the hail of mortar blasts and automatic weapons fire is any real sense of intrigue or suspense, which proves to be Game of Shadows’ most vexing mystery.