A retcon of the proverbial universe of Sherlock Holmes, ENOLA HOLMES pushes his much younger sister in the forefront, and pertinently asserts a modern feminist manifesto in the person of our 16-year-old heroine.

Enola (Brown), “alone” spells backwards, is raised by her mother Eudoria (Carter), after the latter vanishes into thin air on the day of her 16th birthday, Enola, for the first time, embarks on a quest on her own, to seek out the truth. Whilst, her two more world-savvier elder brothers Mycroft and Sherlock Holmes (Claflin and Cavill, both presumably on board for a fat check other than any artistic ambition, since their contrasted acting chops, one goes hyperbolic and the other opts for low-key condescension, are so awfully inconsequential) are not entirely helpful in that aspect, the former persists in dragging her to a finishing school run by Miss Harrison (Shaw, a marvelous harridan), whereas the latter uncharacteristically seesaws about whether or not he should be emotionally invested in his sister’s growing pains.

Enola is a remarkable young woman, mostly courtesy to Eudoria’s unconventional methods of upbringing, she is fostered and trained to be intelligent, erudite, independent and martial arts-savvy (a throw-down with Susie Wokoma’s Edith signifies that she still has a long way to go in refining her skills, but the token inclusion of Wokoma feels short-changed, that is a black woman who can give Sherlock a piece of her mind!), all the qualifies to be standing out from the crowd. Yet, introducing a new detective in the renowned family, ENOLA HOLMES is not much fun in solving the puzzles, Enola’s mission is waylaid after she saves the young Viscount Tewkesbury, Marquess of Basilwether (Patridge, trapped in a gender-reversed damsel-in-distress role but his fresh-faced earnestness is quite a catch) from being dispatched by a merciless bowler-wearing killer Linthorn (Gorman). Some physical violence might be too squeamish for audience who are attuned to chick-lit flicks (Enola must take some hiding to toughen up), but the ultimate trigger-puller is expectedly the least we should expect, and Enola is none the wiser in deciphering that. Also, the story half-asses about Eudoria’s mysterious disappearance, coded message-sending aside, no real deduction or intrigue is required here.

Indefatigably maneuvering the fourth-wall-breaking gimmick à la the hit TV series FLEABAG, with which the film shares the same director Harry Bradbeer, ENOLA HOLMES, for what it is worth, purveys the young Millie Bobby Brown (who is also one of the producers of the movie) a period stage (pleasingly digitalized, though looking shoddy when the action accelerates) to show the potentiality of broadening her (already massive) demography of audience, and she makes a good fist of it, a pert role model of her age, her Enola is an inspiration feels authentic, merely due to the actor’s exuberance and alacrity (not that the script offers her any justice), it is a new IP for her to rest on in a long run, provided that some ingenious work from scenarists can be secured in its inevitable sequels.

referential entries: Bill Condon’s MR. HOLMES (2015, 7.1/10); Barry Levinson’s YOUNG SHERLOCK HOLMES (1985, 6.3/10).