Full disclosure, I had never heard of Enola Holmes prior to seeing the recent Netflix trailer. It’s a little embarrassing to be honest. How could I not know the teenaged sister of the world’s renowned detective Sherlock Holmes? To answer that blatantly rhetorical question, Enola was created by American author Nancy Springer and was the protagonist in her popular young adult novel series. In my defense YA books aren’t exactly in my wheelhouse.

Nonetheless a big screen adaptation simply titled “Enola Holmes” was greenlit, headed by director Harry Bradbeer of “Fleabag” fame and written by Jack Thorne. Then COVID-19 hit, forcing theaters to close and putting the movie’s release on hold. Enter Netflix who had already worked closely with the film’s star Millie Bobby Brown on their hit series “Stranger Things”. The streaming giant acquired the distribution rights from Legendary Pictures with thoughts of a possible franchise in mind. After seeing “Enola Holmes” I would follow the spirited young sleuth on another adventure in a heartbeat. This is a great way to start a potential series.

Brown is the heart and soul of “Enola Holmes”, playing the title character with boundless energy and just as much grit. Her performance is delightfully charismatic and captures everything from Enola’s playful charm to her rebellious spirit. It should also be mentioned that Brown is really funny, constantly breaking the fourth wall with snarky sentiments, exasperated glances, and chipper narration that feels as though she’s talking with a close friend rather than some nameless audience. This truly is an eye-opening performance, highlighting Brown’s keen handling of dialogue, a surprising physicality, and sharp comic timing that’s rare for her age.

Photo Courtesy of Netflix

The movie begins with Enola setting up her own story. She tells us how she lost her father at an early age and her two older brothers, Sherlock (Henry Cavill) and Mycroft (Sam Claflin) left home shortly after. That left young Enola and her mother Eudoria (Helena Bonham Carter). The two were extremely close, spending nearly every waking hour together. Instead of sending her daughter to school Eudoria taught Enola herself, bypassing the stuffy traditional lessons for raising a ‘proper lady’. “I was taught to watch, to listen,” Enola explains. “I was taught to fight.”

But on the morning of her 16th birthday Enola wakes up to find her mother missing. Her two brothers are summoned back to the Holmes estate. Mycroft, the cantankerous eldest brother is a bit of a villain in his own right. A slave to an archaic male-dominated way of thinking, Mycroft determines Enola needs a “proper” education. “We need to break her and then build her up,” he barks. “We’ll make her acceptable for society.”

Sherlock, the powerless middle child in the established family hierarchy, sees more in Enola. And while he too is a product of the boys club society, he didn’t become the world’s greatest detective by denying what’s right in front of his eyes. “It’s always there, the truth. You just need to look for it.” And the truth is their backwards-thinking patriarchal world is changing and Sherlock slowly begins to realize his smart and determined sister is an embodiment of that truth. Plus he actually cares for Enola. But Sherlock Holmes doesn’t show emotion, right? Doing so could compromise his reputation or prompt a lawsuit from the Conan Doyle Estate.

Photo Courtesy of Netflix

Enola will have none of it. She sneaks off on her own, utilizing her own detective skills in hopes of finding her mother. Her adventure takes her to London, crossing paths with a fellow runaway named Tewksbury (Louis Partridge) who has his own family baggage to deal with. Meanwhile Enola’s brothers are hot on her trail, looking for their sister but for much different reasons. It all makes for an immensely entertaining high-energy story told mostly through a strong and distinctly female lens.

I’ve praised Millie Bobby Brown and rightfully so, but we also get terrific turns from Cavill and Claflin. Much like Brown, both are given well-written characters who are great straight-faced foils for Brown’s irresistible exuberance. Cavill is particularly good. Not especially known for playing high-emotion characters, he’s a good fit for Sherlock. But he also brings a surprising nuance to a character we’ve seen done multiple times over.

By the end “Enola Holmes” had delivered exactly what I had hoped for. It’s a fun, vibrant, personality-rich adventure soaked in themes of womanhood, self-discovery, and finding your way in the world. Enjoy it for the smattering of action-packed thrills, its sharp sense of humor, the terrific Daniel Pemberton score, and a full cast of top-notch performances. This was a great get for Netflix and here’s hoping we get more Enola adventures in the future. “Enola Holmes” premieres September 23rd on Netflix.

VERDICT – 4.5 STARS

Ok, first off I want everyone to know I’m not making this movie up. I know it sports a title that seems too ridiculous to be true, but I promise you it is real. In fact this utterly absurd action-comedy is actually a remake of a 1978 Sammo Hung film of the same name. So regardless of how it sounds “Enter the Fat Dragon” is an actual thing – a full length feature film with one of Hong Kong’s biggest movie stars attached.

With that out of the way, “Enter the Fat Dragon” is really a remake in title only. Both films are (obviously) riffing on Bruce Lee’s classic “Enter the Dragon” and are as much comedies as action flicks. But that’s about as far as the similarities go. The 2020 version from co-directors Kenji Tanigaki and Wong Jing is very much it’s own thing; as silly as its title suggests and held together by several well-choreographed action sequences.

The film’s biggest draw is veteran Chinese actor Donnie Yen, a martial arts action star who manages to make everything he’s in better. He plays Hong Kong police officer Fallon Zhou whose full-throttled, ‘never slow down’ attitude keeps him in constant trouble with his superiors at the department. It also doesn’t help his relationship with Chloe (Niki Chow), a second-rate TV actress who thinks she’s top-tier talent. She also happens to be his fiancé and his high-octane antics has them constantly at each other’s throats.

While meeting Chloe for their wedding pictures Fallon cant resist the temptation to intervene with a crime in progress. He catches the bad guys but ruins the photo shoot and puts countless innocent lives in danger. It’s the last straw for both Chloe who leaves him and his captain who moves him off the street and into the basement’s evidence room. Six months of melancholy pass during which a more rotund Fallon gives himself over to overeating and vegging out on the couch watching Bruce Lee DVDs.

Then a friend on the police force offers Fallon a chance to redeem himself. All he has to do escort a key witness to Tokyo and hand him over to authorities. Easy right? Well, shortly after they arrive in Japan the witness disappears, Fallon runs afoul of a dapper Yakuza boss (Joey Tee), some crooked cops come into play, even Chloe ends up involved. With the help of a local ex-cop named Titus (played by co-director Wong Jing) Fallon sets out to do what he does and maybe win Chloe back in the process.

The story (it too by Wong Jing) maintains a steadily playful tone even during its action sequences. Nothing is taken seriously which ends up being both good and bad. In one respect it makes the overall silliness a little more palatable. But it also makes the whole thing feel pretty shallow. Adding to that feeling is the inconsistency of the humor. The high-spirited banter and dashes of slapstick work fine. But the eye-rolling butt gags and fart jokes are cheap and lazy. Also there are countless out-of-the-blue plot pieces that get no attention whatsoever or simply make no sense at all. They just add to the messiness.

Strangely the entire overweight angle (that is featured so prominently in the title) doesn’t play much of a role in film. In fact other than having a star like Donnie Yen running around in layers of prosthetic flab, it’s pretty inconsequential. Surprisingly (and thankfully) there are very few weight jokes. Instead you could almost say the film promotes a positive message of self-confidence, although saying it’s fully committed to that message would be a stretch.

While I wouldn’t call “Enter the Fat Dragon” a good movie, Donnie Yen at least makes it entertaining. He’s fun to watch as a kind and well-meaning flub-up. But (as you would expect) he shines brightest in the action scenes, all expertly choreographed, shot, and performed. Yen may be in his late 50s, but he can still blow your mind whether it’s in a thrilling car chase or a 1 vs 20 martial arts throwdown. Watch it for Yen and IF anything sticks with you it’ll probably be him. Ultimately he’s the one who makes this goofy mess of a movie worth seeing. “Enter the Fat Dragon” is now available on VOD.

VERDICT – 2.5 STARS

Will Ferrell works in absurdity the way Leonardo da Vinci worked in oils or Michelangelo in marble. It’s his chosen means of artistic expression, and like paint across a canvas, nuttiness on the screen is his creative language. Unfortunately for Ferrell there haven’t been many Mona Lisas or Davids. And “masterpiece” isn’t a word I would normally associate with his movies. Yet still his special brand of “art” finds an audience and occasionally hits its mark.

His latest is the Netflix Original “Eurovision Song Contest: The Story of Fire Saga”, a surprisingly tolerable comedy that sees Ferrell working his routine while his co-stars steal the show. As with many Ferrell films the concept is ludicrous which is a part of its charm. It also has him playing a character we’ve seen him do before – a lumbering lummox with good intentions but seriously low brain wattage.

Ferrell plays Lars Erickssong, a middle-aged man still living with his father in Húsavík, Iceland. Since he was a child all he has wanted to do was represent his country in the Eurovision Song Contest. For us uniformed westerners, it’s an international song competition that has been held annually since 1956 (due to the COVID-19 outbreak this year’s event was cancelled for the first time since its creation). Whether this film aims to be a parody or a celebration, I’m still trying to figure it out.

Photo Courtesy of Netflix

Much to the chagrin of his grumpy, disapproving father (Pierce Brosnan), Lars’ only goal in life is to win Eurovision with his music partner and childhood friend Sigrit (Rachel McAdams). Of course it comes at the expense of the normal things that come with growing up – getting a job, making a living, getting married, starting a family. His tunnel-vision also keeps him from seeing that his infinitely more talented co-singer loves him. Then again she’s not the sharpest knife in the drawer. After all, she does believe in wish-granting mountain elves.

But I digress, Lars and Sigrit enter their band Fire Saga into a national competition to determine Iceland’s submission to the Eurovision Song Contest. If they (by some unthinkable miracle or cataclysmic tragedy) win, then it’s off to Edinburgh to compete against Europe’s best. As you probably guessed Fire Saga is pretty terrible thanks to Lars and his ludicrous costume designs and stage gimmicks. So wacky mishaps and a crazy turn-of-events or two are all but guaranteed.

The film is directed by David Dobkin who previously worked with McAdams and Ferrell on “Wedding Crashers”. Dobkin made his name directing music videos and can see it in the film’s numerous musical numbers. Most notably is a “song-along” at a party stacked with cameos from past Eurovision participants. It’s a goofy mix of silliness and song that weirdly fits the overall tone.

Photo Courtesy of Netflix

While Ferrell may be tromping familiar ground, he manages to make some of these roles work because of the indubitable earnestness of his characters. You never doubt their sincerity regardless of how stupid they may seem. But it’s McAdams who ultimately steals the show. People tend to forget that she possesses impeccable comic timing. Just look at her work in “Midnight in Paris” and more recently “Game Night”. She never overdoes a reaction or underplays a gag. She’s terrific. And I have to mention Dan Stevens playing a hedonistic, over-charged Russian playboy who is hysterically over-the-top in every scene. I challenge you not to laugh at his antics.

Unfortunately, like so many modern comedies “Eurovision” doesn’t know when to stop. It gets bogged down in the second half and its two-hour plus runtime could have used a 20-minute trim. Also Ferrell (who co-wrote the script with Andrew Steele) just can’t resist tired and lazy jokes about male privates and patently dumb lines like “Let’s go sex nuts.” These are the moments when you can see the movie working. The film also suffers from an underwritten love story (I’m still trying to figure out what Sigrit sees in Lars) and a throwaway villain who makes no sense whatsoever.

Yet the movie still gets its hooks in you. For every scattered eye-roll moment there are two scenes that will bring a smile or a laugh. And any opportunity to see McAdams once again doing straight comedy is a major plus. Its warm and optimistic ending makes for a good payoff and I would give it one full star just for Molly Sandén’s gorgeous song “Husavik (My Home Town)”. While it’s far from great, “Eurovision” is a light and surprisingly entertaining counter for much of what passes for comedies these days.

VERDICT – 3 STARS

For the past few months I’ve dedicated Wednesdays to doing Retro Reviews. The way it works is I put up three options on my Twitter feed (you can follow me @KeithandMovies). Followers vote, I rewatch the movie, and then post the review the following Wednesday. Whatever film finishes second comes back the next week against two new choices. So basically you pick what I watch and review.

There is something so simple about “Escape from Alcatraz” yet so foreign to much of modern day cinema. It’s the art of quiet visual storytelling. It’s when a filmmaker is so deftly in sync with his camera and the composition of every scene is so keenly utilized that he or she is able to speak volumes with hardly any dialogue.

Take the film’s fantastic opening. A man we come to know as Frank Morris (Clint Eastwood) is escorted by two trench-coated men to a docked boat waiting in the San Francisco bay. He’s handed off to officers who take him below deck and chain him down as the boat heads toward Alcatraz. It’s a pitch-black night and rain pounds the island prison as the boat slowly approaches. The wily camera, ominous score and distinct use of sound brilliantly places us withing the setting. And not a word of dialogue is spoken until Frank is inside the prison being processed.

Photo Courtesy of Paramount Pictures

“Escape from Alcatraz” was directed by Don Siegel and it was the last of five films he would make with Eastwood. The film was adapted from a 1963 non-fiction book by J. Campbell Bruce. The story begins on January 18, 1960 with Morris arriving at Alcatraz after previously escaping from the Louisiana State Penitentiary. We’re aren’t told much about Frank or his past crimes. Only that he has escaped from other prisons which prompts the stern and confident warden (Patrick McGoohan) to inform him that no one has ever escaped Alcatraz.

Siegel gives great attention to the daily regimen within the maximum security prison. Through these routines Frank befriends several inmates including the embittered and wrongfully incarcerated English (Paul Benjamin), an elderly painter named Doc (Roberts Blossom), and the chatty Litmus (Frank Ronzio). And as you would expect he makes an enemy or two as well.

Photo Courtesy of Paramount Pictures

Clint Eastwood is a great fit. Tall, athletic, and with plenty of grit, he has the quiet strength that is perfect for Siegel’s approach to this story. But that’s no surprise. Siegel tapped into those same strengths with movies like “Dirty Harry” and “Two Mules for Sister Sara”. But Eastwood brings more to his character than toughness and brawn. Frank is actually a genius and the only thing higher than Alcatraz’s security level is his IQ. And as the movie’s title makes obvious, he instantly begins planning his escape.

Siegel’s storytelling is as precise and methodical as Frank’s escape plan. Even when it appears he’s shooting nothing more than the minutiae of everyday prison life, there are still plenty of details that build the atmosphere and push the narrative forward. After rewatching it I still struggle with one nagging issue – the ending is surprisingly anticlimactic. But even at 40 years old, “Escape from Alcatraz” still holds up as a solid prison thriller sporting a really strong Clint Eastwood performance.

VERDICT – 4 STARS

A man in tactical gear sits in his van, a loaded pistol resting on his nervously bouncing knee. Three other men are with him, all armed and staking out a police station. Inside are eight kilos of cocaine confiscated from a drug lord named Adama (Eriq Ebouaney) and he has sent his men to take it back. This tense and well-shot opening is the best scene in the new French action thriller “Earth and Blood”. The scene teases a tough and gritty crime story. Instead we get a surprisingly thin action flick that runs out of ideas despite barely clocking in at 80 minutes.

The film’s biggest asset is Sami Bouajila’s rock solid lead performance. He plays Saïd, a strong silent type who runs a struggling sawmill left to him by his father-in-law. He lives onsite with his hearing-impaired daughter Sarah (Sofia Lesaffre). One of his employees is Yanis (Samy Seghir), a troubled teen out on parole and trying to get his life together. Yanis’ half-brother is Medhi (Redouanne Harjane), one of the gang members from the opening police station scene. Do you follow me so far?

Photo Courtesy of Netflix

It turns out Medhi isn’t the sharpest knife in the drawer. He manages to retrieve the drugs but instead of returning them to the drug lord he decides to keep the eight kilos and sell it himself. Brilliant. I mean if the Adama was willing to knock off a police station to get his cocaine back surely he would after one of his goons who double-crossed him. Nonetheless Medhi coerces Yanis to take the getaway car (with the coke in the trunk) and hide it at the sawmill.

Obviously the plan doesn’t pan out. Saïd finds the stashed dope and knows Adama will be coming for it. The film’s second half is basically one long scene – Adama and his henchmen armed with AK-47s hunting Saïd around the sawmill which he knows like the back of his hand. At the same time he entrusts Yanis with getting his daughter to safety. Easier said than done.

Photo Courtesy of Netflix

All of that sounds great and you can see the ingredients for a good action movie stew. But director and co-writer Julien Leclercq never gets things above room temperature. There’s no sizzle, no tension, no excitement past that opening sequence. The entire film is shot well and it makes great use of location. But everything is so by-the-book and the action (which is the film’s bread and butter) lacks spark. It doesn’t help that the characters are sketched so thin. We get a couple of early scenes attempting to add depth to Saïd but nothing is really done past that. And outside of one lone instance, any potentially compelling use of Sarah’s deafness never comes into play.

I love that Netflix is reaching out and bringing in films from all over the globe. The international diversity in their portfolio is great to see. “Earth and Blood” had all the markings of a cool French cinema addition and to be honest, there are worse ways to spend 80 minutes. Leclercq knows his way around with the camera and Bouajila’s sturdy lead performance provides us with somewhat of a rooting interest. But so much of its story seems to be missing and its characters never get the depth they desperately need.

VERDICT – 2 STARS

The Icelandic drama “End of Sentence” is another movie entry which sets out to show that a good road trip can cure all woes, heal all wounds, mend all fences, and so on. Pretty scenery is a balm and the journey’s inevitable speed bumps are sure-fire ways to remedy almost any personal ailment. We’ve seen this before. Yet despite the air of familiarity, “End of Sentence” works because of smart filmmaking choices and two stand-out lead performances.

The movie comes from first-time director Elfar Adalsteins. It works from a screenplay by Michael Armbruster that centers around a father and son at a critical stage in their relationship. The film opens with Frank Fogle (John Hawkes) carrying his wife Anne (Andrea Irvine) to visit their son Sean (Logan Lerman) who’s in an Alabama state prison serving out his sentence for auto theft. Anne, suffering from late-stage cancer, uses the visit to tell her son a final goodbye while Frank, left off the visitors list, waits outside. The father/son tension is obvious from the start.

Photo Courtesy of Berserk Films

A short time later Anne passes away and her dying wish is for Frank and Sean to scatter her ashes near a lake in Northwestern Ireland. But she wants them to do it together. The problem is Sean detests his father (for reasons that come into focus a little later) and he’s quick to turn Frank down once he gets out of prison. Sean has a job waiting for him in California if he can get there in time, but getting there proves tough with no money and no ride. Frank offers to pay for his flight to the west coast if he will help carry out his mother’s last wish. Sean begrudgingly agrees and the two head overseas.

Adalsteins takes the two from Dublin to Belfast and even further north along winding country roads and through small towns. As they travel both characters open up more leading to the inevitable boiling point where secrets are revealed and true feelings are finally laid bare. While the outcome remains predictable, the characters make it worthwhile. Frank is meek, timid, and tightly-wound. He’s cut from the old-fashioned gentleman mold and tends to let people walk all over him. Sean is embittered and full of pent-up anger, harboring deep-seated resentment towards his father.

It makes for a combustible pairing but Adalsteins doesn’t let his story get away from him. “End of Sentence” could have easily spiraled into conventional family drama territory. But it’s kept grounded by good direction that seems keenly aware of the genre trappings and works hard not to fall into them. Even when Sarah Bolger’s Jewel pops up (a character ripe for the third-wheel treatment) the story maintains its humanity and uses her in a smart way. Bolger’s really good and she brings an energy to the movie it really needs.

Photo Courtesy of Berserk Films

It’s Hawkes who is the real standout, delivering yet another performance you can’t look away from. The 60-year-old screen veteran has a career filled with a wide variety of great roles. He’s been a terrifying Ozark mountain meth addict, a frustrated quadriplegic, even a charismatic cult leader. Here he brings a graceful tenderness to a character weighted down by insecurity and grief. Lerman is a solid foil, simmering with acrimony and rage that he often conveys without a word of dialogue. It’s an impressive eye-catching turn.

“End of Sentence” doesn’t veer too far off the formulaic ‘road trip to reconciliation’ path. There’s also a semi-action scene on a ferry boat that feels weirdly out of place. Otherwise there is a lot to like about Elfar Adalsteins’ debut effort, a movie about two hurting souls, past family trauma, and the importance of communication. Along with Armbruster’s intelligent script and a well-tuned cast, Adalsteins never loses sight of the human element either in his characters or his storytelling. It’s a key ingredient the movie embraces to great effect.

VERDICT – 4 STARS