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SHERLOCK HOLMES (2009) (***)

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Coming from Guy Ritchie, the director of LOCK, STOCK AND TWO SMOKING BARRELS, it's not surprising that this Sherlock Holmes is a more physical chap. But what is surprising is how it is handled. While this film has a contemporary vibe, it stays true to the spirit of the famed character. He is a detective and a skeptic and those qualities drive him and this film.

To start Holmes (Robert Downey Jr., IRON MAN) and his partner Dr. John Watson (Jude Law, A.I.) are on a desperate chase to stop Lord Blackwood (Mark Strong, STARDUST) from committing another ritual murder. Blackwood is caught and sentenced to hang. On the night of his execution he warns Holmes that he will be back to kill again. Soon ritual murders begin again and Blackwood's tomb is broken out of from the inside. As London descends into a panic over the supernatural, Holmes is determined to discover the Earthly truth behind the mystery.

Giving him his first lead is Irene Adler (Rachel McAdams, THE NOTEBOOK), a thief and his former lover. She has a new mysterious employer and she points him in the direction of the ginger midget, Reordan (Oran Gurel). Ginger midget is the film's description not mine. This 1891-set story is not up on current Little People terms. Back to the plot, Holmes' investigation leads to the secret society called Temple of the Four Orders, which makes the Masons look the high school band.

Downey of course makes Holmes a vastly entertaining character. The great detective is a bit pompous and very focused. His impetuous behavior makes the audience hold their breath, because we're not sure if he's going to solve the mystery or get himself into deeper trouble. Law's Watson serves as Holmes' conscience. He is also trying to put his adventuring days behind him, because he is set to marry Mary Morstan (Kelly Reilly, PRIDE & PREJUDICE). But something always pulls the surgeon and war vet back into danger. The repartee between the two longtime colleagues gives the duo an unspoken past, which makes the partnership richer. McAdams is there to be pretty and an X factor. Because her motives are a mystery, her presence keeps us guessing.

While there are some big action set pieces, the film attempts to keep the fight choreography somewhat grounded. This Holmes is a trained boxer, but he isn't a scrapper, but a fighter who works like a chess player, planning out several moves ahead toward his checkmate move. Ritchie handles these sequences with a fun style while never making it in your face. This HOLMES has more in common with INDIANA JONES than MURDER, SHE WROTE. Part of what makes this Holmes more epic than previous versions is the fantastic art direction. Art director Sarah Greenwood and set decorator Katie Spencer received an Oscar nod for their effort, which gives the film an authentic late 19th century feel and yet conveys a modern cool at the same time.

Rousing fun is the best way to describe this production. The end gets a bit talkie, but there are a lot of elaborate plots to explain. Traditional Holmes fans might not like this adrenaline-drunk rendition, but I found it a respectful way to make a 21st century Holmes film.

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Rick DeMott
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