Movie Review by bally chohan : The Devil Inside

January 18th, 2012

“The Devil Inside” is an awful movie. Everything about it is cringe-worthy … except for the parts that are supposed to be. Those are just lame. You would think that in a movie designed to scare people they could at least accidently make one scary moment, but they don’t. This film fails on every level.

The film centers on Isabella Rossi. She is the daughter of Maria Rossi, a woman who, 20 years earlier, murdered three members of the Catholic Church while they were performing an exorcism on her.

Isabella decides to go visit her mother at the psychiatric hospital where she is being held. While in Rome, she wants to learn more about exorcism so she sits in on a class being taught by the Catholic Church.

Accompanying Isabella is Michael, a documentary filmmaker capturing all of the events. They eventually meet up with two priests who perform exorcisms and try to figure out whether Isabella’s mother is crazy or still possessed.

This is the type of movie the public should be glad to have movie reviewers for to warn others not to waste their money. When this movie eventually comes out on DVD and is available at a local Redbox, the $1.06 to rent it would still be a monumental waste of money. Therefore, I’ve made a list of things that $1.06 would be better used on.

- Your local McDonald’s Dollar Menu: Even if you hate McDonald’s, you would still feel better about yourself eating a calorie-loaded McChicken than you would after viewing this film.

- Penny beers at Hawk’s Nest: You could drink 106 beers and still have enough brain cells left to realize just how bad this movie is. (Note, I do not endorse drinking over 100 beers in one night. However, spread out over several nights would be acceptable as long as you’re 21 and not driving.) Side note: These safety notes are still more interesting than the movie. It actually makes safety look fun in comparison.

- An on-campus movie: This week, ironically for me, “Tower Heist” is playing. I gave this film two out of five stars in a review a few months back. Yet, it’s still twice as good as “The Devil Inside.”

I could make a whole other list of things you would be better off spending your money on than seeing this film.

The film is shot in a “faux-documentary” style just like the “Paranormal Activity” films. Even though I’m a fan of the style, this movie manages to completely misuse it.

When done correctly, such as in “Paranormal Activity,” it can have a powerful effect and terrify you. When done the way “The Devil Inside” does it, a mixture of boredom and frustration will make you want to leave the theater. I’ve only been to three movies that actually made me want to walk out of the theater, and this is one of them. I stuck it out to the end though and was able to witness one of the worst endings ever. This is no exaggeration. The ending is terrible.I hope by me writing this you’re not intrigued to go see the movie whatsoever. The ending alone is reason enough to stay home. Don’t waste your time, and more importantly, your money.

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Loosies: Film Reviewed by Bally chohan

January 17th, 2012

Loosies Peter Facinelli Running – H 2012

The Bottom Line

Appealingly seedy genre elements drown beneath bland and unconvincing romance.

Cast:

Peter Facinelli, Jaimie Alexander, Vincent Gallo, Michael Madsen, Joe Pantoliano, William Forsythe

Director:

Michael Corrente

Peter Facinelli’s pickpocket reconciles a life of crime with impending fatherhood.

Playing like a Knocked Up for the penny-ante underworld (minus the jokes), Michael Corrente’s Loosies is a vanity project that might have stayed afloat had star/writer Peter Facinelli only tried to sell himself as a none-too-bright crook on the run from bad luck. Making romance a big part of the mix dooms a movie already saddled with one of the worst titles in recent memory.

A “loosie” is a cigarette sold individually instead of by-the-pack; it’s also a homophone for Lucy (Jaimie Alexander), a bartender whose one-night-stand with Bobby (Facinelli) resulted in an unwanted pregnancy. Bobby, a pickpocket who told Lucy he was a stockbroker, would know about the pregnancy if the cad hadn’t given her a fake phone number the next morning; he doesn’t find out until the two accidentally meet three months later.

By that point, Bobby has other problems: He lifted a cop’s badge a while back and dumbly used it to get a free cab ride, igniting a scandal that has the cop (Michael Madsen) on the warpath; he’s trying to pay off his dead dad’s $500 thousand gambling debt with the watches and cell phones he steals for an edgy, karate-obsessed fence (Vincent Gallo); and his mom is sleeping with Joe Pantoliano.

Corrente is at a disadvantage here, with every interesting face in the cast stuck in a supporting role. Scenes between Facinelli and Alexander go nowhere, and are rarely more believable than the forced coincidence of their three-months-later reunion.

The movie’s crime-flick elements are hardly more credible than the pregnancy plot (we’re meant to believe, for instance, that Madsen’s couldn’t-care-less flatfoot was on track to become Chief of Police), but they have a grindhouse quality that makes Loosies almost fun in flashes. But flashes are all they are — pleasures even more fleeting than an off-brand smoke bummed from strangers in an alley.

Opened January 11, 2011 (IFC)Production Company: Verdi ProductionsCast: Peter Facinelli, Jaimie Alexander, Vincent Gallo, Michael Madsen, Joe Pantoliano, William Forsythe

Director: Michael Corrente

Screenwriter: Peter Facinelli

Producers: Glenn Ciano, Peter Facinelli, Noah Kraft, Chad A. Verdi

Executive producers: Michael Corso, Robert DeFranco, Anthony Gudas, Gino Pereira, John Santilli, Robert Tarini, Michelle Verdi

Director of photography: Sam Fleischner

Production designer: Robert Rotondo Jr.

Music: Chad Fischer

Costume designer: Caroline Errington

Editor: Daniel Boneville

PG-13, 89 minutes

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Movie Review by bally chohan Vettai

January 16th, 2012

Bally chohan describe all about this movie :  N Lingusamy has adapted a tried and test formula for his latest movie Vettai. The director, in his usual way, has blended all the elements that make a movie entertaining. In fact, he takes to the era of 80s-90s film, where good having the last laugh against the evil. The filmmaker has also ensured to bring out the best from his actors – Aarya, Madhavan, Sameera Reddy and Amala Paul.

We have seen many movies before, which shows an elder sibling bailing out his younger one from troubles but in Vettai it is vice-versa. The introduction to the characters begin with the early days of Tirumurthi (Madhavan) and Gurumurthi (Aarya), where the former gets beaten-up by his acquaintance while flying a kite. In return, Tirumurthi, who leaves the place crying, makes his junior to seek revenge .

Having given enough hints about the nature of the siblings, the story then moves forward when Tirumurthi, by chance or may be by force, turns a cop. Lacking courage and strength, he manages to face the hurdles with the help of his brother. Being a kind of body double to his elder sibling, Guru successfully makes baddies Annachi (Ashutosh Rana) trembling in fear.

At this juncture, Tirumurthi ties the knot with Vasanthi (Sameera Reddy) and Gurumurthi falls in love with Jayanthi (Amala Paul). However, the villain discovers the truth and the situation changes drastically. The remaining part should be seen on-screen.

The story drives you on a familiar territory and one cannot expect too many surprises in the tale. But Lingusamy, who has mastered in this genre, does not allow the audience to lose their attention rather he makes them to watch the close-to-three hour film without getting bored. The film has each and every ingredient, which audience love to see on-screen. Good story, fights, comedies and songs that make the movie an interesting affair.

Aarya and Madhavan steal the complete show with their excellent performances. Here, we should praise Maddy for putting on some kilos and developing a paunch for his role of a laid-back cop. In fact, he amazingly brings the life to his role and makes the viewers that his role is dozy in front of Aarya’s character, which shines almost in every scene. Sameera Reddy and Amala Paul are good and they have justified their roles. However, Ashutosh Rana, despite getting enough scenes, fails to create fearsome atmosphere in the role of a villain. Rest others are okay. Technically, Nirav Shah’s cinematography is good, Yuvan Shankar Raja’s music is okay and Silva’s action stunts are commendable. Lingusamy has complete control over the subject and from his writing team, especially from the dialogue writer Brinda Sarathy, he has taken out best.

On the flip side, Lingusamy has committed a mistake by changing the attitude of Madhavan’s character in the second half. It looks logic-less and not convincible for many. Putting aside this, there are quite a few minor errors, which go unnoticed.

Verdict: While Nanban has the elements to attract the urbanites and the youths, Vettai is a material,   which will be liked by family and mass audience. It is a paisa-vasool movie, go for it.

Cast: Madhavan, Aarya, Sameera Reddy, Amala Paul, Ashutosh Rana and others.

Director: N Lingusamy

Music: Yuvan Shankar Raja

Cinematography: Nirav Shah

Producers: N Subash Chandra Bose and Ronnie Screwvala.

Released on: January 14

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Reviewed by bally chohan Hands off British film, Mr Cameron

January 12th, 2012

Bally chohan  say that in politics, if you’re in a hole, you should stop digging. And yet there’s something about the subject of British cinema that gets the prime minister repeatedly reaching for his spade. Perhaps it’s something to do with Meryl Streep’s Maggie gazing down from every bus, and maybe that film’s sentimentalisation of a Tory leader has emboldened David Cameron to believe this is solid ground for him. He will keep on making these eye-catching and brazen announcements about British film – a topic on which, as Harold Wilson once said to Harold Laski, a period of silence on his part would be most welcome.

On Radio 4’s Today programme, Evan Davis cheekily asked him to comment on a listener’s view that in a Cameron biopic, Malcolm McDowell should play the lead (having famously played the public-school cad Flashman). Cameron opined that If … was a good film of McDowell’s. Huh? Did Mr Cameron fully understand that Lindsay Anderson’s If … was a searing attack on the public school system from a socialist director? Well, he was responding to a question, and he was caught on the hop.

But now he has made a calm and considered visit to the set of the new 007 film at Pinewood Studios and, on the occasion of a report into film-funding from Lord (Chris) Smith, that Blair-era figure who once wrote a solemn study titled Creative Britain, commented publicly that lottery money now needs to be targeted at “mainstream” films. Yes, of course, those commercial blockbusters and box-office sizzlers, as opposed to lefty chin-stroking arty-liberal fare (like, presumably, Lindsay Anderson’s If …) Really, prime minister? What a bold new idea!

The sheer audacity is staggering. He says he wants to “build on the incredible success of recent years”, but one of his administration’s most sensational acts of party political grandstanding and spite was to cancel the UK Film Council – a creation of the Labour years – just when it was delivering not merely critically admired work but precisely those commercial hits of the kind Cameron professes to yearn for.

Could there be any better example of the classy, Brit-heritage smash than The King’s Speech, a film which would not have existed without the UK Film Council’s support? And yet just when this movie’s producers were taking their Oscars away in a wheelbarrow, the Film Council was in the process of being wound up. It was the equivalent of David Cameron rushing on to the field at the final whistle of 2003 Rugby World Cup, calling for silence, and announcing that the coaching system was all wrong, and Clive Woodward and Jonny Wilkinson should be given their P45s right away.

I suspect Cameron now realises the UK Film Council move was one of his government’s silliest blunders. It wasn’t broke – so he broke it. Now he’s returning to the fray, with some choice rhetoric about getting our British movie industry to up its game to rival Hollywood, a rhetoric he has learned from the Blair-Brown administration which, in fact, really did care about boosting cinema.

But it’s not just a case of taking the “commercial”-looking projects and throwing money at them for higher returns. It doesn’t work like that. Producing movies – any kind of movies – is a gamble. As the great screenwriter William Goldman said: nobody knows anything. The UK Film Council got it pretty wrong in the early years of its existence in chasing, and being seen to chase, commercial hits. It resulted in some embarrassing dross, chiefly about mockney gangsters.

Are we destined to go through this again? The UK Film Council was not perfect, and it certainly had its critics, but its successes were coming through the pipeline because it was always keen on self-scrutiny and research, always trying to get the balance between supporting crowd-pleasers and critical darlings. Because these go together, and the distinction is never clear in any case.

The challenge is to make good films, and to make as many as possible and to raise the statistical likelihood of success as high as possible. It may sound naive, but not as naive as this implied image of hearty commercial films starved of cash by lefty arthouse conspirators.

Cameron says he is against big government. Perhaps politicians like him will now resolve to leave the world of film alone for a bit.

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Movie Review by bally chohan : War Horse

January 11th, 2012

Bally chohan : May be it was the epic, old-fashioned storytelling, or the touching bond depicted between man and animal. Whatever the reason, Steven Spielberg’s War Horse worked its way into my heart and I enjoyed it purely as a simple, fulfilling story. Thinking back on it, I smile because this is the type of film many people of various ages and backgrounds can enjoy together. It has a universal appeal because it’s about universal feelings and themes, like caring for a child or pet you’ve nurtured and watched grow; seeing promises all the way through; and basic survival. You can categorize it as a war picture, sure, but it doesn’t necessarily takes sides and label one country good and another evil, nor does it see things from a single point of view. War in this case serves as a mechanism for us to see how any human being – English, French, German, man, woman, adult, child – can be linked to others through his or her humanity. In this case, their humanity stems from the way they care for and react to the title character.

The story has the kind of classic tone that resonated in films of the 1930s, free of cynicism and filled to the brim with underlying hope. In Devon, Ireland, just before World War I, a poor farmer named Ted Narracott (Peter Mullan) hastily (and drunkenly) bids on a horse in a local auction to spite his smug landlord (David Thewlis). But the horse is too skinny and jumpy to pull a plow, which is what Narracott needs it for, and so he ends up with a seemingly useless animal and an even greater line of debt. His wife (Emily Watson) gives him one month to train it; otherwise she vows to return the horse herself and beseech the landlord for forgiveness. But their son, Albert (Jeremy Irvine), who saw the young thoroughbred come into the world, sees a golden opportunity to raise it as his own.

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Rahul Dravid turns 39 reviewed by bally chohan

January 11th, 2012

Bally chohan : Indian batting stalwart Rahul Dravid, who is also known as “The Wall” of the Indian cricket team, turned 39 on Wednesday.

Born in a Maharashtrian Deshastha family in Indore on the 11th of January 1973, Dravid started playing the game of cricket when he was only 12. He represented the state at the under-15, under-17 and under-19 level. Former cricketer Keki Tarapore spotted his cricketing talents when he scored a double-hundred for his school on debut. Rahul went on to make his Ranji Trophy debut in the year 1991 against Maharashtra in Pune.

It took just 5 more years for the talented young man to make his Test debut for the Indian team. Since then the flow of runs continues from his bat. On this day, he is only the second batsman to score over 13,000 runs in Tests and the third cricketer (after Sachin Tendulkar and Sourav Ganguly) to be a part of the elite club of over 10,000 runs in ODIs.

Talking about Tests, Dravid has scored 36 tons, of which 32 times India have not lost the match. He is the only cricketer to have scored a ton in all ten Test playing nations. This proves what this man is capable of, and why is he called “The Wall”.

Moving away a bit from batting, Dravid also holds the record of taking the most number of catches in Test cricket. He is the only cricketer to have crossed the 200-mark in this regard.

Dravid also led the Indian Cricket Team from October 2005 to September 2007. Even though he has a mixed record as a captain, which includes the disappointing ouster of the team from the 2007 World Cup; but at the same time, he led the team to a series win in England after 21 years soon after.

Leaving aside the captaincy part, he has been no short of a great contributor for ODIs as well. He has over 10,000 runs, 12 centuries and 83 fifties. Added to the same, he was involved in two of the largest partnerships in ODIs: a 318-run partnership with Sourav Ganguly, the first pair to combine for a 300-run partnership, and then a 331-run partnership with Tendulkar, which is the present world record.

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Bally chohan reviewed New Lexus Sports Coupe Crosses Digital Divide

January 10th, 2012

Bally chohan sad  Amid the dozens of vehicles debuted at the North American International Auto Show Detroit on Monday, many of the concept trial balloon cars boasted digital consoles worthy of this week’s Consumer Electronics Show in Las Vegas.

One prime example is Toyota Motor Corp.’s latest luxury design study, the Lexus LF-LC sports coupe. The car boasts curvy sheet metal that sheaths a rear-wheel drive, advanced hybrid power train under its dramatically sloped hood. Styling highlights include a lily-stem motif interior cockpit and tail lamps “inspired by the look of a jet afterburner at take-off,” according to the company’s press release.

But perhaps the most notable innovation is a pop-up touch-screen keyboard wedged between the front seats to adjust unnamed functions, presumably including audio and climate controls. Mark Templin, general manager of Lexus in the U.S., described the half-bolted down digital tablet as “kind of like having a tilt-up iPad” built into the center console.

That device is flanked by smaller, smartphone-sized flat touch panels on the inside of each door used to control the side mirrors, door and window operation and seat adjustments. The similarity of these arm rest panels to Apple Inc.’s iPhone screen is unmistakable–and the corporate hat tip is not something Toyota shied away from acknowledging.

“We’re moving more into the digital age and away from the mechanical, so it makes sense for us to try touch interfaces that look like a tablet or iPhone,” Kevin Hunter, president of Toyota’s Newport Beach, Calif.-based design center, said in an interview. “People are expecting this technology to be brought into cars.”

Not to be outdone by these accoutrements, the candy apple red show car also boasts twin 12.3-inch LCD panels inside showcasing core instrumentation such as the speedometer and navigational controls.

With all that high-tech, it wouldn’t be surprising to see such a car on display at CES or another electronics expo. And it begs the question: Will cars of the future be made by Toyota and Hyundai, or the likes of Apple and Samsung?

While Toyota officials stress the LF-LC is merely a conceptual exercise, they hint there’s ample room in the automaker’s line-up for a similarly styled $150,000 “poor man’s LFA,” a reference to the limited production Lexus super sports car that sells for $375,000. iPad not included.

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Players review: by bally chohan

January 6th, 2012

bally chohan sad:Desi versions of Hollywood thrillers are like ‘first copy’ bootlegs from Thailand. They initially look approximately the same but later the threads begin to wriggle out. So when director duo, Abbas-Mustan took on ‘The Italian Job’, Benny Hill became Neil Nitin Mukesh, everyone double-crossed and obvious lines were exchanged with a grim face. Now, tough guys don’t snigger until they’ve outwitted someone or unless they’re delirious like Mogambo! But our bad boys are, firstly, not all boys and their badness is mostly restricted to the leather jackets rented from MJ’s ‘Bad’ music video. So looking grim is a ritual observed throughout the audience.

Most would vaguely know about the original gold heist comic caper so let’s go straight to the singular flourishes added here. Veteran robber, Victor Dada (Vinod Khanna) is teaching cops in prison about criminology. He has a long black coat slung over his prison uniform. If you think you’re dreaming, in the very next scene, his lawyer Charlie (Abhishek Bachchan) casually strolls into prison and concludes his lecture. I think prison is being confused for an old-age home with flexi-visiting hours. Later when Victor is to be operated for a terminal condition, the very same cops get dutifully sentimental and instruct the surgeon, “Doctor saab, please inhe bachaaiye… humein inse bohot kuch seekhna hain.” And that is the sum total worth of his life?

Anyway, Charlie is the man with the master plan for this international chori. He is loved by both the leading ladies, few of the leading men and some of the extras. While he casts a gang of singular talents, his own span across the spectrum, earning him maximum screen space and the privilege to pronounce ‘mourning’ as ‘morning’.

Among the members in Charlie’s crew, the most peculiar back story is that of the world famous illusionist, Roonie (Bobby Deol). He almost breaks down reflecting on it, saying, ‘Magic se sirf duniya barbaad hoti hain’. The flashback is of a freak accident during an elevation act involving his daughter that manages to trick no one. And now that his daughter is paralyzed, he wants to partner in this crime to build a house that operates on mere gestures (he actually says this!). He also does sufficient dialogue-baazi, circa 1980s, to prove his intent and ability with cheese burgers like, “Bada player banna hain toh bada risk lena hi padta hain.”

Trying to infiltrate and deceive the Russian army and slip out with cartons full of gold bars can require meticulous planning and military precision. But in an Abbas-Mustan movie, it’s a far less complicated affair. Full-time automobile expert, part-time item girl, Riya (Bipasha Basu) shakes her hips for the concerned chief military personnel and before he knows it, he’s out of his pants and on the floor being photographed from every angle like a Chinese manufacturer looking for a prototype to create bootlegs.

The film also has curious elements that may never find scientific explanations. Like when Charlie pushes the carriage vault, it pulls open instead! And why does explosives expert, Bilal (Sikander Kher) convey his supposed deafness with expressions like a werewolf on a full moon night? Or how does Victor’s techie daughter, Naina (Sonam Kapoor) suddenly master kickboxing and seductive hip flexing (which by the way is as asexual as a tomato seducing a potato in a salsa salad).

Adapting from a book and adapting from another film have one constant: both are subjected to comparison. That aside, the larger argument here is whether adapting from a film is ethical or not. Some directors respond to this reflexively, saying that it only helps narrate a good story to a larger audience or that it is a fond tribute. But a remake of ‘The Italian Job’ which makes the defining chase sequence look like a rickshaw chugging over monsoon-corroded roads refutes both these rationales. Definitely a job taken not so seriously.

Cast: Bobby Deol, Neil Nitin Mukesh, Abhishek Bachchan, Bipasha Basu, Sonam Kapoor, Omi Vaidya, Sikander Kher, Vinod Khanna, Johnny Lever

Directed by Abbas-Mustan

Rating: Game Over

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Bally chohan reviewed: I Sutherland feels some awful decisions against India could be helpful in convincing BCCI for DRS – Cricket News

January 5th, 2012

Irked by BCCI and its players’ continuous opposition of the Decision Review System (DRS), Cricket Australia’s Chief Executive, James Sutherland, has said that “some awful decisions” against India are needed to convince them for using the review system in their matches.

For BCCI, usage of the system has always been major issue in India’s bilateral series with any other team. Although most boards are in favor of it, the Indians, for some reason, have become strong antagonists. According to ICC’s recent decision regarding DRS’ usage, teams participating in a series will decide whether to use the technology. However, India, instead of consulting with other participants, makes sure not to allow DRS at any cost.

It did the same for the recent India-Australia series. And in the absence of DRS, several incorrect decisions by the on-field umpires fell harsh on the Aussies. Mike Hussey’s caught behind by Marais Erasmus and Ed Cowan’s dismissal were two wrong decisions by the on-field umpires, as later adjudged by TV replays.

In this very context, Cricket Australia’s chief executive expressed disappointment over the absence of DRS in from such a prominent match.

“The technology is here, the viewers are watching it on TV and we’re not using it,” said Sutherland speaking to the media reporters on Friday.

“Perhaps we need some pretty awful decisions to go against Indian batsmen,” he added further and hoped the Indians would soon agree to the use of DRS in its matches.

Since its inception, the BCCI has picked up issues on the technology. However, according to Sutherland, the technology has increased the entertainment value of the sport and should be a part of every international cricket match.

“It’s fact – the number of decisions that were correct have increased with the introduction of DRS and I think the entertainment value of cricket has increased as a result of DRS,” he added.

Let’s wait and watch what the second match between Australia and India has to offer. It begins in Sydney next week!

Tagged in: India cricket team, test cricket, BCCI, James Sutherland, DRS

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Movie Reviewed by bally chohan : Sherlock Holmes – A Game of Shadows

January 5th, 2012

Bally chohan while I may not have liked anything director Guy Ritchie had directed between his smashing debut of Lock, Stock and Two Smoking Barrels and his 2009 adaptation of Sir Arthur Conan Doyle’s Sherlock Holmes, it wasn’t for lack of interest. I found Snatch to be full of contempt, aside from the squeak toy imbibing bulldog and Brad Pitt’s Pikey accent. But the less said about both Swept Away and Revolver the better. Yes, Ritchie’s Madonna years are finally far behind him. While I still need to give Rockne Rolla a second go, it still seemed to bring a sense of direction for Ritchie and return him to his roots. And if his Holmes sequel, Sherlock Holmes: A Game of Shadows, is of any indication, he’s here to stay.

With a bigger budget and a far tighter script (courtesy of Michele and Kieran Mulroney), Ritchie and stars Robert Downey Jr. and Jude Law have proven Warner Bros. have a mighty viable property on their hands. While their beloved Harry Potter series has come to a close, it’s nice to see them putting some effort behind a series for the more adult filmgoer. While most sequels tend to try to continually one up the last, it’s a rarity in Hollywood to broaden, deepen, and build upon what’s come before. With a few new cast members along to up the ante as well, it would appear that the Sherlock Holmes films can only continue to improve. I’m sure the two years it took to release a follow up shows a little dedication to the craft more than simply aiming for a cash grab.

It’s 1891 and Dr. Watson (Law) is hard at work on his latest Sherlock Holmes (Downey) adventure novel. Tension has been rising between the French and Germans, and things don’t seem to be gaining any help due to a slew of bombings. Of course, Holmes has pieced together some evidence connecting the bombings to a few circumstantial deaths thanks to a new diet of alcohol, tobacco and cocoa beans. But it’s not until after his beloved Irene Adler’s (Rachel McAdams) “services are no longer required” of the dastardly Professor James Moriarty (Jared Harris) that it becomes clear that Holmes may have finally met his match.

After a spectacular fight sequence fending off an assassin attempt of gypsy fortune teller Madam Simza Heron (Noomi Rapace), Holmes must band together with his dear Watson who just wants to enjoy his honeymoon. Meanwhile, keeping the newly Mrs. Watson, Mary (Kelly Reilly), safe is Holmes’ brother Mycroft (the always welcome Stephen Fry). After one of cinema’s most hilarious weddings and a grand train adventure through Brighton, Holmes and Watson set out to track down Simza who may hold the key to finding Moriarty through her brother, Renee. Now the game is set for Holmes & Co. to track down Moriarty before he manages to cause an all out war between France and German while getting some vengeance in the process.

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