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Posts Tagged ‘Henry Cavill’

Milie  Bobby Brown, Helena Bonham Carter

“ENOLA HOLMES” My rating: B (Now on Netflix)

123 minutes | MPAA rating: PG-13

Netflix’s “Enola Holmes” would be a welcome diversion at any time.

That it also confirms young Millie Bobby Brown (you know…the bald one from “Stranger Things”) as a major star is but frosting on the scone.

The premise of Harry Bradbeer’s film (Jack Thorne adopted from Nancy Springer’s YA novel) is that the great detective Sherlock Holmes had, in addition to his brother Mycroft, a little sister named Enola.

Raised by her mother Eudoria (Helena Bonham Carter) to be an independent, inquisitive, self-asserting young woman (instead of crocheting and piano 16-year-old Enola was trained in archery and karate), this youngest Holmes is shattered when one morning her dear Mama vanishes.

Big brother Mycroft (Sam Claflin), a pompous and unyieldingly chauvinistic government bigwig, is Enola’s legal guardian — though he hasn’t seen her for a decade. Now Mycroft arranges for her to be shipped off to the smothering finishing school run by the fascistic Miss Harrison (a gloriously scenery-chewing Fiona Shaw).

In the meantime, sibling Sherlock (Henry Cavill) will try to sleuth out what happened to their mother.

But Enola has a head start.  Cannily picking up on clues Eudoria deliberately left behind, Enola disguises herself as a boy and hits the road. Along the way she befriends a runaway adolescent nobleman, Tewkesbury (Louis Partridge), who is being stalked by a bowler-hatted assassin (Burn Gorman).  Upshot: Violent confrontations and a teen crush.

She also discovers that her mother and her fellow suffragettes may have been involved in a bomb-making plot. And she runs afoul of Scotland Yard’s Inspector Lestrade (Adeel Akhtar), hot on the trail both of Enola and Tewkesbury.

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Henry Cavill as Napoleon Solo

Henry Cavill as Napoleon Solo

“THE MAN FROM UNCLE” My rating: C+

116 minutes | MPAA rating: PG-13

Having dragged down the great Sherlock Holmes to our world of short-attention-span cinema, Guy Ritchie now turns his camera on a fondly remembered TV series from the 1960s.

And, to give credit where it’s due, he has had the good sense to go easy on his usual hyperkinesis. “The Man From U.N.C.L.E.” isn’t particularly memorable, but it introduces some interesting ideas and avoids the most headache-inducing elements of this director’s style.

The original was television’s answer to the James Bond craze. Unlike the overtly satiric “Get Smart,” “U.N.C.L.E.” (United Network Command for Law and Enforcement) took a dry, tongue-in-cheek approach to international spying.

And in Napoleon Solo (portrayed back in the day by Robert Vaughn) the series gave us an impossibly unruffled, cooler-than-cool protagonist, who could view his own imminent demise with sardonic indifference.  The series was so huge it spawned action figures, toy guns and much more — one of the lunchboxes even has a home at the Smithsonian now.

Ritchie and a small army of writers give us an origin story that is less impressive for its dramatic elements than for its painstaking re-creation of swinging Europe in the ’60s.

Things get off to a busy start when the nattily dressed Solo (Henry Cavill, the current Superman) enters squalid East Berlin to spirit Gaby (“Ex Machina’s” Alicia Vikander), a tomboyish auto mechanic, over the Berlin Wall to freedom.

Their escape is almost foiled by a Soviet agent (Armie Hammer), who with his slow-burn,  hulking presence and almost superhuman strength seems a close relation to Robert Shaw’s assassin in “From Russia With Love.”

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Man Steel“MAN OF STEEL” My rating: C  (Opens wide on June 14)

143 minutes | MPAA rating: PG-13

Henry Cavill, our newest Superman, certainly has the look down.  He knows how to fill not only the red-and-blue suit but looks extremely hot in a Royals T-shirt.

He might even be able to act, although you won’t be able to tell from “Man of Steel.”

Zack Snyder’s reboot of the venerable superhero franchise is yet another piercingly loud, atavistically violent affair, albeit one that seems to have been assembled from spare parts left over from other big, noisy summer popcorn flicks.

Superhero origin stories usually benefit from a human dimension lacking in followup films. They’re about a superhero discovering who he is, establishing what his relationship is to the rest of us mere mortals.

Sequels, on the other hand, invariably deteriorate into long, numbing passages of shit being torn up (see “The Avengers,” any “Transformers” film, etc.).

Snyder (“300,” “Dawn of the Dead,” “Watchmen”) and screenwriter David S. Goyer (the Christopher Nolan “Batman” films, the “Blade” movies), want it both ways – and so they have given us a glum, joyless origin story and a whole lot of destruction.

In the process  they inadvertently reconfirm that Christopher Reeve was/is the best movie Superman of all time, thanks to his disarming blend of sincere heroism and an intoxicatingly sly sense of humor.

 “Man of Steel,” on the other hand, occupies an irony-free zone.

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