HOLMES & WATSON | Movie Review

Holmes & Watson

Reviewed by REGGIE WOLTZ

In yet another adventure for the storied pair of alleged geniuses, Detective Sherlock Holmes (Will Ferrell) and Doctor John Watson (John C. Reilly), are on the hunt for their usual nemesis, Professor Moriarty (Ralph Fiennes). But when Sherlock becomes convinced that the real Moriarty has left the country, and that a copycat is pulling the strings, London is thrown into chaos. Soon there’s a threat against the crown, bodies begin to disappear, and the detectives have to depend on the help of the brilliant American doctor Grace Hart (Rebecca Hall) to save the day.

Sounds like a pretty fun setup for a powers-of-deduction caper, right? Get ready to be disappointed.

Aside from one scene in Anchorman 2: The Legend Continues five years ago, Ferrell and Reilly haven’t come together onscreen since Step Brothers. The following that mushroomed after that movie and Talladega Nights was surely a major inspiration for their reunion here, but Holmes & Watson offers virtually nothing that made either of those films so memorable. The pacing is slapdash, the jokes a mix of first-take sparring riffs and unbearable shoehorned gags about SoulCycle and selfies existing in the Victorian period. A gifted roster of supporting actors give their best to scenes which appear to have been cut and re-dubbed to the point of barely resembling whatever was originally filmed. There’s no style or comic inspiration. It’s good for a small handful of polite snorts, maybe, but not one big laugh in 89 minutes.

It’s not often you watch a movie that seems to be racing to end itself as quickly as possible, but that’s the impression that Holmes & Watson gives off for the majority of its runtime. That’s not to say that writer/director Etan Cohen‘s comic ideas set its performers up to succeed (it absolutely does not), but that the choppy nature of what made it to screen was never going to do anybody involved a favor. Middling-to-bad studio comedies built around a marketable name (or names) are nothing new; they go back to the earliest days of Hollywood, in fact. But even gifted improvisational actors won’t always find the perfect laugh line on the first attempt.

Yet there’s a growing reliance on famous comedians inherently being interpreted as funny, whether the movie around them is giving them anything especially funny to do or not. It’s a misconception that continues to drag down an entire era of comedy, and Holmes & Watson is one of the most egregious examples yet.

Holmes & Watson is the kind of sloppy production that’s almost easier to pity than hate. Watching a roster of stellar performers strain for the most forgiving of laughs against lifeless material borders on depressing after a while. The small handful of moments that do land usually emerge from sheer exertion, whether in Lauren Lapkus‘ committed absurdity as a feral woman or in the kind of bawdy Three Stooges banter that made Ferrell and Reilly such a beloved comedy duo to begin with.

Again, however, these moments feel incidental to what Holmes & Watson is trying to do. The movie itself is often confused about that purpose, racing through certain key stretches of storytelling with newspaper headlines set to anachronistic, generic pop music. At other times, it strains to tell a semi-competent Sherlock tale, but that mostly just amounts to stealing exciting visual motifs from Guy Ritchie’s Holmes movies and BBC’s Sherlock alike. 

Even by the standards of shapeless comedies, there’s almost nothing to Holmes & Watson. It’s a good idea, finished badly, chopped up to meet the inconsistent standards of focus groups and released for audiences who might have liked these actors in other, better movies. When people talk about Hollywood movies feeling more and more like product, this is what they’re driving at.

© Copyright 2017 – 2019. ALL Rights Reserved.

NEW YA Book Series
Amazon $2.99

Amazon $2.99


Ralph Breaks The Internet


It took six years for a Wreck-It Ralph sequel to take shape, and it quickly proves why. Ralph Breaks the Internet mostly eschews the video game cultural mash-up of the original to tell a kid-friendly story set inside the Internet. It’s such a different beast than its predecessor, and yet it’ll likely reach a similar adult audience as the original, as the barrier between gamers and memers isn’t too high, if it exists at all.

As far how the plot handles that transition, screenwriters Phil Johnston, also serving as co-director, and Pamela Ribon simply have the arcade owner plug in the establishment’s first Internet router. But an overlong first act has the unfortunate job of setting up the circumstances that bring Ralph (John C. Reilly) and Vanellope (Sarah Silverman) into the world wide web. There are too many scenes that exist to re-establish their friendship while they play in the same world as the original. It feels like a lifetime establishing Vanellope’s reason for going into the Internet (they have to find a spare part for her arcade machine on Ebay), and the script doesn’t clue us into Ralph’s arc until hers is ending.

But things pick up significantly when the pair starts exploring the Interweb. The jokes are largely simple, such as birds in a tree tweeting primarily photos of cats, and yet just clever enough that they feel fresh. The smart personification of pop-up ads (Bill Hader voices J.P. Spamley, get it?) breathes some life into the early Internet scenes, but the story really comes alive when Vanellope enters an online racing game far more violent and hardcore than her candy coated arcade machine. She’s inspired by that game’s popular racer Shank (Gal Gadot), and thus begins a journey of finding her true home. Splitting from Ralph, their individual journeys give Ralph Breaks the Internet some surprising emotional power in its second half.

Still, the animated sequel feels very much mass-produced and corporate-approved. When the entity doing the approving is Disney, the result is more often than not a mixed bag. When Vanellope visits a family friendly Disney fan site, it’s hard not to feel directors Johnston and Rich Moore sucking up to their corporate overlords. Nods to Marvel and Star Wars aren’t so much hidden as they drive the plot and humor. But then, sometimes the Disney brand is just undeniably strong and, when manipulated in clever ways, can be used effectively. Ralph Breaks the Internet‘s best scene sees Vanellope entering a room filled with all of the classic Disney princesses, from Snow White to Moana. It is an extended sequence written out of pure joy with not an ounce of cynicism. It’s one of the best moments of popular cinema this year, and gives way to one of the film’s other transcendent moments: a hysterical yet poignant song sung by Vanellope about finding where she belongs in a gritty, ultra-violent racing game.

The film draws her arc so smartly, that when it starts wrapping up as Ralph’s is getting started (far too late), the story at large starts to feel like overkill. And yet, the script still weaves in a powerful message about the nature of friendship that, while not wholly original, is relatively unexplored in children’s media.

So while the rough first half could definitely have been shorter, a lot of Ralph Breaks the Internet ends up being worthwhile. As a visual send-up of some of the Internet’s most popular corners, the film is clever and inventive, even if the jokes themselves likely won’t age well by the midway point of the 2020s. But this being as it may be, there’s an artfully written sequencing for the film and a strong heart rooted in friendship. By no means a classic, or capable of making much of a stir on the actual Internet, this animated sequel is coded to entertain, and that it does.

© Copyright 2017 – 2018. ALL Rights Reserved.

NEW YA Book Series
Amazon $2.99

Amazon $2.99