2009’s Sherlock Holmes found unexpected synergy in the pairing of Robert Downey Jr.’s impish charm and Guy Ritchie’s macho kinetic visual style reinventing Sir Arthur Conan Doyle’s master detective for a modern blockbuster audience. The follow-up Sherlock Holmes: A Game of Shadows employs the same winning formula while adhering judiciously to the Law of Sequels and its more-more-more dictates: more action bigger set pieces higher stakes and a darker more convoluted plot. But more as so many past sequels have taught us is rarely better.
Game of Shadows marks the emergence of Doyle’s most famous villain James Moriarty (Jared Harris). Glimpsed only in darkness in the first film Moriarty takes center stage in the sequel as Holmes’s foremost criminal foil a genius-level university professor whose extracurricular interests range from horticulture to homicide. Holmes has deduced him to be at the center of a wave of terrorist bombings as well as the seemingly unrelated deaths of various titans of industry but can’t quite discern just what the professor’s endgame might be. Composed and calculating to a menacing degree Harris makes for a promising counterweight to Downey’s manic verbosity. But as in the first film Game of Shadows’ best moments are found in the comic interplay between Holmes and his reluctant sidekick Dr. Watson (Jude Law) who is plucked from his honeymoon to accompany the detective on a trans-continental trip in search of clues to Moriarty’s machinations.
And it’s very much a boys-only trip. The female leads from the first film Rachel McAdams and Kelly Reilly are tossed aside – literally in the case of the latter – in Game of Shadows while the cast’s highest-profile new addition Swedish star Noomi Rapace (best known as the original non-emaciated Lisbeth Salander) is a curious non-factor in the role of a Gypsy (or Roma if you prefer) fortune-teller. The film maintains only the slimmest pretense of a romantic subplot between her and Downey. Rapace looking perhaps a bit lost in her first English-speaking role can’t hope to eclipse the Holmes-Watson traveling road show.
Ritchie’s technique with its signature blend of rapid cutting and slow-mo and super-high frame-rates – perfect for admiring the odd apple tossed in the air or a piece of bark shot off a tree – is once again evident in the film’s awe-inspiring (and occasionally coherence-defying) set pieces the most memorable of which is set in a munitions factory with Watson wielding a gatling gun like an early T-600 prototype. But some of the novelty of the stylistic juxtaposition has faded since the first film. Ritchie tries to compensate by ramping up the firepower to limited effect. Absent amid the hail of mortar blasts and automatic weapons fire is any real sense of intrigue or suspense which proves to be Game of Shadows’ most vexing mystery.
Normally when a film about a historical figure finds its way into “awards watch” season you expect a certain level of intrigue from its content.So My Week With Marilyn should by all accounts deliver a little bite. Marilyn Monroe is a staple of American culture. We all know her face her voice her classic lines her wardrobe “malfunctions ” her tumultuous relationship history her power over men and of course that ugly little truth we like to brush under the carpet: the pill addiction that eventually cost her her life. This film purports to give us a look at the “real” Marilyn – the one the millions of representations of her haven’t already shown us. The problem is that by the time the film attempts to explore the darker corners of Monroe’s (Michelle Williams) existence we like our protagonist Colin Clark (Eddie Redmayne) are already under her spell. Just as we start to condemn her or look at her problems without the biased nostalgic eye most of us are afflicted with the film waves its magic Marilyn wand and quickly abolishes those less glamous notions. The result is a splendid yet decidely indecisive journey with a very complicated and often misunderstood woman
We meet plucky young Colin as he embarks on his first foray into feature films. It’s his dream and thanks to a connection to Sir Lawrence Olivier (Kenneth Branagh) he’s got a shot at working on a film. But it’s not just any movie; it’s The Prince and Showgirl a marriage of American and English sensibilities starring Olivier and Monroe. When Colin arrives he’s just a third assistant director to Olivier – essentially a go-fer – and can do little but admire Marilyn without hope. He takes up with a wardrobe girl named Lucy (Emma Watson) and goes about his duties. Of course things don’t stay this simple. His newness lends itself to a bit more flexibility so when Olivier’s rigid practices clash with Marilyn’s laissez-faire style and the production begins to slow to a glacial pace Colin is a natural fit to become Marilyn’s willing ally. Their friendship grows as Olivier’s temper comes to a boiling point and the result makes Marilyn a film tinged with a choice number of harsh realities – but as soon as they rear their ugly heads Monroe’s ever-present spell casts itself over them.
Of course this isn’t so much a criticism of the film as it is criticism of the weight given to the content. My Week With Marilyn is beautifully shot allowing the nostalgic air of London and Monroe in the 50s to take the lead with a few contemporary flairs to help keep us along for the ride. Every detail is impeccable from the music to the settings to the dialog. There isn’t a single weak link in the cast. Redmayne displays all the youth and earnest vigor demanded by his young character. Though her character teeters between a layered enigma and the girl the entire world knows Williams handles each angle as easily as Marilyn handles the men around her. Supporting cast members Julia Ormond (as Vivien Leigh) Judi Dench (as Dame Sybil Thorndike) and Branagh put their wealth of experience to tremendous use. Lesser known actors like Dougray Scott and Dominic Cooper take on American accents with minimal issues and handle their supporting characters with ease – and Watson delivers her usual (but welcome) lovely precocious act.
There’s really nothing wrong with My Week With Marilyn. It’s lovely. It’s smart. It’s extremely well-crafted. It’s a good film. But it does little to excite a reaction beyond that. And when you’re dealing with someone we know as well as most of the world knows Marilyn I doubt I’m the only one who expect a little more…va va voom.