Directed by:
Douglas MackinnonCinematography:
Suzie LavelleCast:
Benedict Cumberbatch, Martin Freeman, Amanda Abbington, Rupert Graves, Mark Gatiss, Andrew Scott, Una Stubbs, Louise Brealey, Natasha O'Keeffe, Jonathan Aris (more)VOD (1)
Plots(1)
Benedict Cumberbatch (The Imitation Game) and Martin Freeman (The Hobbit) return as Sherlock Holmes and Dr. Watson in the acclaimed modern retelling of Arthur Conan Doyle's classic stories. But now, our heroes find themselves in 1890s London. Beloved characters Mary Morstan (played by Amanda Abbington), Inspector Lestrade (Rupert Graves) and Mrs. Hudson (Una Stubbs) also turn up at 221b Baker Street. (PBS Distribution)
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Reviews (6)
A proof that the modern Sherlock works so well not because it is incorporated into the form of the modern setting, but thanks to the cast, chemistry between them, style, atmosphere, clever work with the original and exaggeration. Unfortunately, it also proves that Moffat and Gatiss, despite all their (often superfluous, but also not always) recombination and repetitiveness (for both Sherlock and Doctor Who) are transparent much sooner (really; too early, this time it can be seen on both levels in minutes) than it would be appropriate and I bet it was not intentional. As a result, they often ripple water rather than move the plot or characters forward. As a result, it is a special movie whose weak point is that it needs to work on its own (it succeeds in the first half of the comedy in this respect, unfortunately only in the first part), and at the same time it should at least partially follow the previous three seasons (if you close your eyes it does the job) and at the same time it shall not to move the plot forward, in case someone did not watch it and after finishing the third season wanted directly to watch the fourth season.
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I was expecting a period story with the same cast from the special. However, The Abominable Bride is, in the end, a strange hybrid that builds on the end of the third season and brings us closer to the fourth season, without, however, anything important happening in it. It's really just a drugged plaything that does not take itself seriously, which is quite nice, but at the same time the traveling a hundred years back, forward, back and forth again is unnecessarily confusing. Arthur Conan Doyle probably wouldn't be happy.
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A promising Victorian plaything that degenerates halfway through into a festival of self-referential self-propagation, the point and substance of which escapes me. This series went from a refreshingly dynamic detective story to annoying fan service full of heavy-handed attempts at meta meta meta meta jokes somewhere around season three. I did not enjoy it and it’s quite annoying.
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Moffat and Gattis grind the hyperbole and the viewing world goes corkscrew. It's pure cocaine entertainment, a prelude between series that neither resolves nor advances anything. A separate plaything and a beta version of the cult of self that gets berated so much only because big things were expected. After the self-parodying third season, I find the level of viewer incomprehension laughable. Anyway, I'm not opposed to version 4.0 at all. Even if Moriarty should eventually be his own twin, a clone, or a resurrected ghost from a dream.
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We've been waiting for it for a long time, and it seemed for a long time that it would be a fantastic episode. Especially because I thought it related to the past and that it would just be a little something, simply a special episode that's different from the others. But no, it connects to the classic series, and the resolution is too convoluted. That just didn't sit right with me.
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