The problems with Sherlock Holmes: A Game of Shadows began with the poster prominently displayed outside the theatre, featuring the protagonist grasping a revolver. This is a misunderstanding that envelops the entire film, substituting explosions, MMA and cross-dressing for the thoughtful detective work of the novels. The film looks fantastic and brings Europe at the turn of the twentieth century to live but neglects to do likewise for the titular character.
Unfortunately, the eccentricities of Sherlock Holmes are exaggerated far too much by Robert Downey and he is made to be a comedic figure. While Arthur Conan Doyle created a character with a bohemian streak who was familiar with the fringes of society, A Game of Shadows portrays him as someone entirely out of touch with reality. A methodical man becomes so introverted that those around him barely tolerate him.
Guy Ritchie crafts a mediocre film that is only entertaining in spurts by treating the film like a summer blockbuster. Bullet time is used excessively, jarring the viewer and halting the action for the sake of showing how much special effects have progressed since The Matrix. Stop-motion sequences narrated by Holmes preview unnecessary and ultimately meaningless fight scenes; another one from Moriarty’s perspective portrays the arch-villain throwing a Bolo punch during the climax above Reichenbach falls.
The screenplay includes many nods to the original short stories, especially The Final Problem, but it appears Ritchie neglected to read any of them. The first film grossed more than a half-billion dollars so the formula works but it is implemented in order to dumb down mysteries which require thinking and pander to the lowest common denominator. Moments when viewers are compelled to think about what “The Napolean of Crime” will do next are interrupted by loud explosions which serve no purpose.
A bright spot is the ensemble cast, featuring Jared Harris, Noomi Rapace and Stephen Fry – when they are left to expand upon their characters. Harris is very credible as the diabolical yet genius villain although he is frequently hamstrung by the questionable decisions of the writers and director.
Moriarty is supposed to be elusive, so it would be logic that he never appears on-screen with Holmes until their battle atop the falls. It seems illogical how he would stop his pursuit of profit in order to taunt and torture Holmes but he does so frequently. The literary Holmes would find his inability to stop the professor of mathematics most frustrating but this does not prevent Ritchie from subjecting the audience to Harris’ singing. However, by this point, the audience has realized that it is unreasonable to expect anything logical. *