'Enola Holmes 2' Review: Millie Bobby Brown Meets Her Match In Peppy Detective Comedy Sequel
You better have a living room that's a pentagon because Elona Holmes 2 is here with a brand new mystery and its eponymous detective (played by Millie Bobby Brown) to break your fourth wall. Directed by also-returning Harry Bradbeer, written by Jack Thorne from a story by him and Bradbeer and based on Nancy Springer's novels, the story takes Enola to her first proper case now as a professional detective. With occasional help from her brother Sherlock (Henry Cavill), she gets hired by a penniless, young matchstick factory worker named Bessie (Serranna Su-Ling Bliss) to investigate the disappearance of her older sister. What seems like a fairly straightforward case turns into an oddly political one as Enola finds herself looking for answers in London's high society where her love interest Tewkesbury (Louis Partridge) turns out to be helpful as well.
What is great for everyone involved in this film but a bit troubling for the industry considering its absence from cinemas, Enola Holmes 2 proves yet again to be one of the better things available right now for young people, notably for girls and non-binary individuals who often get underwritten and cheaply put together stories on streaming platforms. There is refreshing vibrancy and clear respect for the audience in the movie's sparkling tone and filmmaking that is always there to serve the mystery. Michael Carlin's production design and Consolata Boyle's costumes lay the groundwork for stylish London-trotting where performances can use those spaces, props and appearances. Brown continues to be a great fit for this smart character, also sharing some enjoyable banter with Cavill and rest of the cast, while David Thewlis (as Grail) shows up to twirl some moustaches which suits the eccentric tone.
Some of the first film's surprise factors aren't necessarily found here as the central story can get rather messy with its heavy exposition and wildly out-of-place-and-time action scenes that might as well be rehashed from other movies, though Adam Bosman's lively editing work does keep things in order in impressive fashion. It incorporates artwork and stylised slow motion when the time is right, even if Bradbeer or outside pressure may have lost confidence at some points because there are unnecessary flashbacks and whatnot, sometimes to events that happened less than hour ago. Good thing is that enough of the material thrives in controlled chaos to make it worth your time.
Smileys: Editing, production design
What is this now, son?