Sherlock Holmes is back in cinema. But this time, as a secondary character. Indeed, Enola Holmes focuses on the little sister of the famous detective. Directed by Harry Bradbeer, the Netflix film adapts Nancy Springer's eponymous novels. Worn by Millie Bobby Brown as Enola Holmes and by Henry Cavill as Sherlock Holmes, Enola Holmes has been available on Netflix since September 23.
Gently boring entertainment
Enola Holmes is not a fundamental failure. It is more like a relatively insignificant entertainment to reserve for the youngest among us. Blockbuster for young people, Harry Bradbeer takes the bias to constantly break the fourth wall. The heroine speaks directly to the spectators through sometimes embarrassing and often awkward asides. The filmmaker tries by this process to impose a playful and rhythmic staging that often falls flat. A wet firecracker that more often recalls Dora the explorer rather than the jubilant adventures of Sir Arthur Conan Doyle. 
Thus, Enola Holmes is a talkative entertainment, lacking rhythm, gently boring, quickly seen and quickly forgotten. The kind of insipid production like Netflix has the secret. A soulless proposal that accumulates clichés of the genre without really proposing an update. Millie Bobby Brown makes crates, cabotine as much as possible in a tailor-made role that she manages to make heavy. Thus, Harry Bradbeer's film is largely negligible, especially because of the writing of the characters, a disconcerting simplicity. The filmmaker manages to make uninteresting a bland, dull and terribly innocuous Sherlock Holmes. And Henry Cavill's charmless performance does not allow us to raise this prosaic portrait. In short, the film lacks energy and has great difficulty in freeing itself from the original material.
A relatively intelligent speech
Henry Bradbeer manages to raise his film thanks to a few flights. Some dialogues manage, sometimes, to get the spectators out of their roupillon, the time of some verbal jousts that do not reach the quality of writing of Conan Doyle but allow to impose a little style to the whole. We will also retain some emotional springs that work relatively well, especially in Enola's relationship to childhood and the fraternal figure. The film offers some questions about adolescence, evolution, belonging, intellectual heritage and societal adaptation. 
Enola Holmes also highlights the portrait of the woman. And even if this approach sometimes lacks panache and remains very succinct, the filmmaker tries to offer a feminine adventure where the man is eclipsed. Thus, Enola Holmes offers a sometimes clever discourse on the place of women in society, but also within her own narrative. The emancipation of a young lady in full self-affirmation, thrown into a masculine, macho and misogynistic universe, where she will have to face all the clichés of a patriarchal society, and thus break the prerogatives of an unequal system. After, all this remains very banal, and the film is more like a lazy teen-movie than a real original proposal. Enola Holmes is therefore a relatively lazy entertainment, gently boring, and above all very negligible. Some emotional springs work, but the writing of the characters is disconcertingly simple. As for Millie Bobby Brown, she makes crates. https://youtu.be/wnzLTkejrT8
