The “Enola Holmes” movies have done nothing so much as chart Millie Bobby Brown’s evolution from child actor to movie star. She was 16 when the first “Enola Holmes” debuted in 2020. As “Enola Holmes 3” arrives on Netflix, she’s 22.
And all three movies have been driven by Brown’s natural charisma. The first two were directed by Harry Bradbeer, a veteran of “Fleabag,” and they delighted in her breaks of the fourth wall. “Enola Holmes” runs on her asides, glances and eyebrow raises.
Everything else in these tales of Sherlock Holmes’ younger sister can be a bit over-amped and over-stylized. But “Enola Holmes 3,” like the two previous chapters, is spirited and fleet of foot, and, crucially, doesn’t take itself too seriously. When Enola’s mother, Eudoria (a scene-stealing Helena Bonham Carter) turns up and pronounces, “This is all a ridiculous merry mess,” she pretty well nails it.
If the first two “Enola Holmes” films leaned more Y.A., with a light feminist bent, the third film is a touch more grown up, leading Brown’s character closer to rom-com territory. In the movie’s opening scene, she hesitates about her imminent marriage to Lord Tewkesbury (Louis Partridge) before rushing by carriage to the wedding.
Her hesitation isn’t about her affection for Tewkesbury but out of fear of losing her identity. She’s worked hard to live up to the Holmes name, creating her own detective agency in London. Becoming “a lady” doesn’t sound so good.
Everyone — well, mostly Tewkesburys since the Holmes are a more mysterious bunch — have gathered for a glamorous destination wedding in Malta. But Enola’s wedding drama is put on hold when her brother (Henry Cavill) is kidnapped.
As a case to center the movie around, it’s not the most compelling. If ever there was someone who needs no saving, it’s Sherlock. Screenwriter Jack Thorne, working from the character created by author Nancy Springer, throws all manner of secrets, sunken treasure and a British colonialism subplot into a convoluted mix. Anyone who thinks most modern day takes on Arthur Conan Doyle try to paper over their lack of narrative cunning with blander action-movie theatrics won’t be dissuaded by “Enola Holmes 3.”
Yet director Philip Barantini, while unable to gamely juggle the disparate plot elements, keeps things amiably brisk. The Malta setting and the movie’s “merry mess” make for a fine backdrop for Brown’s continuing evolution as a charming big, or small, screen presence.
“Enola Holmes 3,” a Netflix release now streaming, is rated PG-13 by the Motion Picture Association for some violence. Running time: 105 minutes. Two and a half stars out of four.
