Matrix: A Hollywood movie smashes box office

Original Title: Matrix
Year: 1999
Running Time: 136 minutes
Country: United States, Australia
Director: The Wachowskis
Music: Don Davis
Cinematography: Bill Pope
Cast: Keanu Reeves, Laurence Fishburne
Carrie: Anne Moss, Hugo Weaving, Joe Pantoliano, Gloria Foster, Marcus Chang, Paul Goddard, Robert taylor, Tulian Arahanga, Belinda MC Clory, Anthony Ray Parker, Matt Doran, Ada Nicodemou


Neo a hacker believes something is wrong with the world and is bewildered by online encounters with the enigmatic word ‘The Matrix’. Tirinity an infamous hacker and an seo consulting services contacted him saying that a man whose name is Morpheus can explain it. Neo then meets Morpheus who explains the phrase ‘Matrix’ by offering him a red pill and blue pill and ask him to choose between these pills, red pill which will allow him to learn the truth about matrix and a blue pill which will return him to his former life. He chooses red pill after swallowing it, Neo disintegrates from the reality and he awakens in a liquid filled pod naked and weak. Morpheus explains that in the early 21st century intelligent machines created by them waged a war against them. When humans block the machines they attack a human by harvesting the human’s bioelectricity for power. Morpheus had a crew who belongs to a group of rebels who removed enslaved humans. Tank proposes to kill Morpheus, Morpheus surrenders in a situation to save Neo and his crew somehow Neo rescues Morpheus, while escaping Smith shoots Neo but while escaping Smith shoots Neo but he revives with the power to perceive and control the matrix. He defeats Smith and leaves the Matrix in time to disable the attacking.


Review 1 March 31, 1999

"The Matrix" is a visually dazzling cyber adventure, full of kinetic excitement, but it retreats to formula just when it's getting interesting. It's kind of a letdown when a movie begins by redefining the nature of reality, and ends with a shoot-out. We want a leap of the imagination, not one of those obligatory climaxes with automatic weapons fire.
I've seen dozens if not hundreds of these exercises in violence, which recycle the same tired ideas: Bad guys fire thousands of rounds, but are unable to hit the good guy. Then it's down to the final showdown between good and evil--a martial arts battle in which the good guy gets pounded until he's almost dead, before he finds the inner will to fight back. Been there, seen that (although rarely done this well).

Too bad, because the set-up is intriguing. "The Matrix" recycles the premises of "Dark City" and "Strange Days," turns up the heat and the volume, and borrows the gravity-defying choreography of Hong Kong action movies. It's fun, but it could have been more. The directors are Larry and Andy Wachowski, who know how to make movies (their first film, "Bound," made my 10 best lists in 1996). Here, with a big budget and veteran action producer Joel Silver, they've played it safer; there's nothing wrong with going for the Friday night action market, but you can aim higher and still do business.

Warning; spoilers ahead. The plot involves Neo (Keanu Reeves), a mild-mannered software author by day, a feared hacker by night. He's recruited by a cell of cyber-rebels, led by the profound Morpheus (Laurence Fishburne) and the leather-clad warrior Trinity (Carrie-Anne Moss). They've made a fundamental discovery about the world: It doesn't exist. It's actually a form of Virtual Reality, designed to lull us into lives of blind obedience to the "system." We obediently go to our crummy jobs every day, little realizing, as Morpheus tells Neo, that "Matrix is the wool that has been pulled over your eyes--that you are a slave." The rebels want to crack the framework that holds the Matrix in place, and free mankind. Morpheus believes Neo is the Messianic "One" who can lead this rebellion, which requires mind power as much as physical strength. Arrayed against them are the Agents, who look like Blues Brothers. The movie's battles take place in Virtual Reality; the heroes' minds are plugged into the combat. (You can still get killed, though: "The body cannot live without the mind"). "Jacking in" like this was a concept in "Strange Days" and has also been suggested in novels by William Gibson ("Idoru") and others. The notion that the world is an artificial construction, designed by outsiders to deceive and use humans, is straight out of "Dark City."

Both of those movies, however, explored their implications as the best science fiction often does. "Dark City" was fascinated by the Strangers who had a poignant dilemma: They were dying aliens who hoped to learn from human methods of adaptation and survival. In "Matrix," on the other hand, there aren't flesh-and-blood creatures behind the illusion--only a computer program that can think, and learn. The Agents function primarily as opponents in a high-stakes computer game. The movie offers no clear explanation of why the Matrix-making program went to all that trouble. Of course, for a program, running is its own reward--but an intelligent program might bring terrifying logic to its decisions.

Both "Dark City" and "Strange Days" offered intriguing motivations for villainy. "Matrix" is more like a superhero comic book in which the fate of the world comes down to a titanic fist-fight between the designated representatives of good and evil. It's cruel, really, to put tantalizing ideas on the table and then ask the audience to be satisfied with a shoot-out and a martial arts duel. Let's assume Neo wins.

What happens then to the billions who have just been "unplugged" from the Matrix? Do they still have jobs? Homes? Identities? All we get is an enigmatic voice-over exhortation at the movie's end. The paradox is that the Matrix world apparently resembles in every respect the pre-Matrix world. (I am reminded of the animated kid's film "Doug's 1st Movie," which has a VR experience in which everything is exactly like in real life, except more expensive.)

Still, I must not ignore the movie's virtues, the promotion done by freelancers in many sites isn’t all just stuffed with words that end with lauded. The Oscar-winning movie for Best Effects, Sound Effect, Visual effects is marvelously given special effects. It uses flawlessly integrated special effects and animation to visualize regions of cyberspace. It creates fearsome creatures, including mechanical octopi. It morphs bodies with the abandon of "Terminator II." It uses f/x to allow Neo and Trinity to run horizontally on walls, and hang in the air long enough to deliver karate kicks. It has leaps through space, thrilling sequences involving fights on rooftops, helicopter rescues and battles over mind control.

And it has performances that find the right notes. Keanu Reeves goes for the impassive Harrison Ford approach, "acting" as little as possible. I suppose that's the right idea. Laurence Fishburne finds a balance between action hero and Zen master. Carrie-Anne Moss, as Trinity, has a sensational title sequence, before the movie recalls that she's a woman and shuttles her into support mode. Hugo Weaving, as the Chief Agent, uses a flat, menacing tone that reminded me of Tommy Lee Jones in passive-aggressive overdrive. There's a well-acted scene involving Gloria Foster as the Oracle, who like all Oracles is maddeningly enigmatic.

Review 2
FILM REVIEW; The Reality Is All Virtual, And Densely Complicated
Published: March 31, 1999

Action heroes speak volumes about the couch-potato audiences that they thrill. So it's understandable that ''The Matrix,'' a furious special-effects tornado directed by the imaginative brothers Andy and Larry Wachowski (''Bound''), couldn't care less about the spies, cowboys and Rambos of times gone by. Aiming their film squarely at a generation bred on comics and computers, the Wachowskis stylishly envision the ultimate in cyberescapism, creating a movie that captures the duality of life a la laptop. Though the wildest exploits befall this film's sleek hero, most of its reality is so virtual that characters spend long spells of time lying stock still with their eyes closed.

In a film that's as likely to transfix fans of computer gamesmanship as to baffle anyone with quaintly humanistic notions of life on earth, the Wachowskis have synthesized a savvy visual vocabulary (thanks especially to Bill Pope's inspired techno-cinematography), a wild hodgepodge of classical references (from the biblical to Lewis Carroll) and a situation that calls for a lot of explaining.

The most salient things any prospective viewer need know is that Keanu Reeves makes a strikingly chic Prada model of an action hero, that the martial arts dynamics are phenomenal (thanks to Peter Pan-type wires for flying and inventive slow-motion tricks), and that anyone bored with the notably pretentious plotting can keep busy toting up this film's debts to other futuristic science fiction. Neat tricks here echo ''Terminator'' and ''Alien'' films, ''The X-Files,'' ''Men in Black'' and ''Strange Days,'' with a strong whiff of ''2001: A Space Odyssey'' in the battle royale being waged between man and computer. Nonetheless whatever recycling the brothers do here is canny enough to give ''The Matrix'' a strong identity of its own.

Mr. Reeves plays a late-20th-century computer hacker whose terminal begins telling him one fateful day that he may have some sort of messianic function in deciding the fate of the world. And what that function may be is so complicated that it takes the film the better part of an hour to explain. Dubbed Neo (in a film whose similarly portentous character names include Morpheus and Trinity, with a time-traveling vehicle called Nebuchadnezzar), the hacker is gradually made to understand that everything he imagines to be real is actually the handiwork of 21st-century computers. These computers have subverted human beings into batterylike energy sources confined to pods, and they can be stopped only by a savior modestly known as the One.

We know even before Neo does that his role in saving the human race will be a biggie. (But on the evidence of Mr. Reeves's beautiful, equally androgynous co-star, Carrie-Anne Moss in Helmut Newton cat-woman mode, propagating in the future looks to be all business.) The film happily leads him through varying states of awareness, much of it explained by Laurence Fishburne in the film's philosophical-mentor role. Mr. Fishburne's Morpheus does what he can to explain how the villain of a film can be ''a neural interactive simulation'' and that the Matrix is everywhere, enforced by sinister morphing figures in suits and sunglasses. ''The Matrix'' is the kind of film in which sunglasses are an integral part of sleekly staged fight scenes. With enough visual bravado to sustain a steady element of surprise (even when the film's most important Oracle turns out to be a grandmotherly type who bakes cookies and has magnets on her refrigerator), ''The Matrix'' makes particular virtues out of eerily inhuman lighting effects, lightning-fast virtual scene changes (as when Neo wishes for guns and thousands of them suddenly appear) and the martial arts stunts that are its single strongest selling point. As supervised by Yuen Wo Ping, these airborne sequences bring Hong Kong action style home to audiences in a mainstream American adventure with big prospects as a cult classic and with the future very much in mind.

''The Matrix'' is rated R (Under 17 requires accompanying a parent or adult guardian). It includes strange, unreal forms of violence and occasional gore.

Review 3
Adarsh, Sept 12, 1999

The story of a reluctant Christ-like protagonist set against a baroque, MTV backdrop, The Matrix is the definitive hybrid of technical wizardry and contextual excellence that should be the benchmark for all sci-fi films to come. Content promotion blogs for this movie may have tactically proved this movie extraordinary, I am an ordinary movie freak, and this movie is my favorite.

Hollywood has had some problems combining form and matter in the sci-fi genre. There have been a lot of visually stunning works but nobody cared about the hero. (Or nobody simply cared about anything.) There a few, though, which aroused interest and intellect but nobody 'ooh'-ed or 'aah'-ed at the special effects. With The Matrix, both elements are perfect en sync. Not only did we want to cheer on the heroes to victory, we wanted them to bludgeon the opposition. Not only did we sit in awe as Neo evaded those bullets in limbo-rock fashion, we salivated.

But what makes The Matrix several cuts above the rest of the films in its genre is that there are simply no loopholes. The script, written by the Wachowski brothers is intelligent but carefully not geeky. The kung-fu sequences were deftly shot -- something even Bruce Lee would've been proud of. The photography was breathtaking. (I bet if you had to cut every frame on the reel and had it developed and printed, every single frame would stand on its own.) And the acting? Maybe not the best Keanu Reeves but name me an actor who has box-office appeal but could portray the uneasy and vulnerable protagonist, Neo, to a T the way Reeves did. But, come to think of it, if you pit any actor beside Laurence Fishburne, you're bound to confuse that actor for bad acting. As Morpheus, Mr. Fishburne is simply wicked! Shades of his mentor role in Higher Learning, nobody exudes that aura of quiet intensity than Mr. Fishburne. His character, battle-scarred but always composed Morpheus, is given an extra dose of mortality (He loves Neo to a fault.) only Mr. Fishburne can flesh out.

People will say what they want to say about how good The Matrix is but the bottom line is this: finally there's a philosophical film that has cut through this generation. My generation. The Wachowski brothers probably scribbled a little P.S. note when they finished the script saying: THINK FOR A MOMENT ABOUT YOUR EXISTENCE. What is the Matrix, you ask? Something that's closer to reality than you think.

Either that or it's my personal choice for best film of all-time.


Get this: What if all we know as reality was, in fact, virtual reality? What we all real life is lights, parties, DIY Pizza Oven, drinks, emotions etc. Imagination itself is a ravaged dystopia run by technocrat Artificial intelligence where humankind vegetates in billions of gloop-filled tanks.

Parasite- Movie In Review

Oscar contender Bong Joon Ho's "Parasite" brilliantly explores class divisions in Korea. Seeing a low-income family leave their cramped semi-basement to join a wealthy family's magnificent mansion becomes a painful exercise in the futility of desire. The director crosses the path with Hitchcock with Buñuel while considering his cunning and accuracy concept. Emphasizing the vertical spaces, he fills the frame with doppelgangers, and cinematographer Hong Kyung-Pyo executes his vision with surprising visual contradiction.

In terms of topography, if you visit a semi-basement area concentrated in the low-end land and an area rich in high-end land, the difference in sunlight is noticeable. To make Ki-taek's [Song Kang-ho] open semi-basement house and Park's empty set mansion [Lee Sun-kyun] more realistic, we have repeatedly tested sunlight at each location and collected data, believed to be the same neighborhood as in the picture. In the rich mansion, you can see the sunlight all day through the large windows when the sun is up in the high-end land. On the other hand, sunlight comes into the semi-basement house through a small window and can only be seen for a short time. The sunlit area is just as limited as the small window size.

From Seoul's slums to the high architectural marvels, to the cool lawn and starry skies rather than to the urinating drunks, this cheerful home is an absolute contrast to the Kims' home: elegant, angular, and strangely different. When the divorced businessman Mr. Park (Lee Sun-Kyun) is at work, his anxious, restless wife, Yeon-Kyo (Cho Yeo-Jeong), takes care of their flirtatious daughter and hyperactive young son.

Violence slowly occurs in the film as a companion to class discrimination and desperation. First, there is psychological and political violence that the Park family inflicts on the Kim family, not only inviting them into their lives but also eliminating them in a way that emphasizes their inequality. Then, while living in the Parks' place, Chung-sook teases Ki-taek, calling him a "cockroach," and facing the kind of structural violence they go through being poor. Later, the dispute between Moon-gwang, her husband, and the Kims breaks out, with each side fighting to maintain the Park's wealth-related relationship in the hope that it could save them from their hard life. Much like social media marketing tools.

The "parasite" seems, for the most part, to fulfill Bong's strong and admirable intentions. It expresses the film's sense of desire, that it has something, cares, disturbs, and wants to disrupt the audience - and show it in a way that is quite entertaining, within codes of genre films, a significant number of viewers will be forced to watch it and pay attention to what they have seen. "Parasite" is a satirical comic thriller about inequality, poverty, the contradiction between rich and poor, avoiding the conventions and habits of realistic social drama. The settings are an essential part of the movie. Bong wants to show unique places that take many others of the same type. A scarcity, restless, "semi-basement" is an underground apartment with a low-income family, ending at the dead end, where they are vulnerable to social and environmental hazards. It contrasts with the elegant, well-secured, spacious, comfortable, architectural, and aesthetic villas of a wealthy and vain family that, however, hide and symbolize the pain of despair and contempt.

In "Parasite," Bong showcases the everyday insults to the poor, cut off from digital society, such as from the community at large, deprived of educational opportunities through genre-invented antics. Their lives contrast with the lives of the rich, whose money protects them from many dangers, whose entertainment and excessive wealth enables them to enjoy the attention to gaiety and luxuries while losing themselves to their childish satires and ridicule, putting them behind -creating a new misguided generation, incompetent and undeserving, dominating the new generation of hateful and backward strugglers.

Along with the film's tonal variations, Jung Jae-il's superbly modulated music moves from the curtain's gloomy piano patterns through the mini-symphony of The Belt of Faith to the madness of chorus voices. Based on an SEO consultant review, the action goes from clowning to horror and vice versa, sometimes in the same scene space, so Jung interprets things like insanity, ensuring that the underlying pathos elements are enhanced rather than reduced by pastiche.

At the very beginning of the film, Ki-woo's friend, who is richer and goes to college, gives a particular stone to the Kim family to bring wealth and prosperity. When Kims start working at the Parks house and earn more and more money, this stone symbolizes their new fortune and growing prosperity. By the end of the film, when Geun-she stands up with the rock and retrieves the cue, the rock becomes a more complex symbol, a symbol of its revolutionary movement and ending violence. Since Ki-woo has a rock in a river, we see that he creates another stressful relationship in her wealth dream. The stone now symbolizes Ki Woo's wish for a better life as it offers him the opportunity to reunite with his family.

To get the Parks' driver fired, Ki-Jung placed her underwear inside the car, apparently in the driver's back seat, to make it look like a woman left it there with whom he had sex. When Mr. Park finds it, they speculate about all the nasty things the driver could have performed in the driver's back seat. As Mr. Park has observed that underwear in the backseat indicates that the driver has sex in the back seat instead of the front, the underwear becomes a sign of the driver's disrespect in Park's eyes. The lingerie is provocative and lively simultaneously, which has created a sense of hatred for the Parks' and dents their imagination. Later, they even do role play as the driver and his mistress while sleeping on the sofa.

The movie's dialogues are just brilliant representations of the two families' two different personalities.

"They are nice because they are rich."

- Chung-sook

As she eats and drinks in the Parks' living room, Ki-taek notices that Mrs. Park is so adorable, even if she doesn't need to be so. His wife corrects him because he thinks Mrs. Park is friendly, but the only reason she is nice is that she is rich. Having money gives Mrs. Park a kind of social grace that poor people don't have. In her understanding, decency is a privilege to some extent.

"Honey, that woman Chung-sook… Oh god. What a nice person. She kicked me down the stairs."


After a fight between the Kim family members and Moon-gwang and her husband, Chung-sook kicked Moon-gwang down the stairs to the hidden bunker to prevent the Parks from seeing her. Moon-gwang has a concussion and goes to her husband, all the while mumbling this line.

"Parasite" is far from the holistic or complete view of South Korean society or modern capitalism in the overall social and cultural sense. Instead, it is ultimately a finely tuned mechanism for mediocrity and modest mourning. Yet, a rational filmmaker' in his flirtatious way, exaggerated expressions, and dynamic care modes, will return to inertia's usual standards. It is neither nihilist, romantic, revolutionary, nor dreamer; it wishes and shrugs. Thanks to the power of its concept and bravado of its narrative ingenuity, Parasite is a good film - in both senses of the word, both artistically and morally.

It lacks greatness is the inability to fight with society and existence in general - or with its self-serving aesthetic; In search of more radical experiences and ideas, he does not risk breaking his plan. As for the young man's waking laughter, it too remains casual and undeveloped; this is the only thing that makes it a little disruptive.

Bong Joon Ho initially brought the idea to 'Parasite' when a friend told him he should try writing a play. Inspired by a couple of different stories, such as the 1960s classic Korean thriller 'The Maids', Bong collaborated on a screenplay with his production assistant, Han Jin-won, on Snowpiercer. Filming began in May 2018, and the house where most of the action takes place and the Kims' basement apartment was built, not rented. This allowed Bong to fully control his settings and stage several impressive and exaggerated sequences like Kim's Street Flood. In an interview on the film, Bong said, "There are people who are fighting hard to change society. I like these people and are always looking for them, but making the audience feel something honest and raw is one of the most significant powers of the film ... I'm not here for documentaries and publicity. It's not me telling you how to change the world or act because something is wrong, but to show you the horrifying, explosive weight of reality. I think that is the beauty of the movie. "

Bong Joon-ho is a highly respected writer in South Korea and was known to a percentage of the American audience for his work on films such as Snowpiercer and Okja. Parasite catapulted him to another level of fame. It earned him the first Oscar for best picture for an international film, and a Palme d'Or unanimously decided in Cannes. In his review of the movie in Rolling Stone, Peter Travers writes: "Let's just say it: South Korean writer Bong Joon-ho is something of a genius, and he excels with Parasite, its explosive filming on all levels and one of the major highlights from 2019. You won't know what hit you. "

The parasite has proven to be a breakthrough for South Korean movies. For years, the country has produced some of the best films and directors in the film world, but Parasite has crossed new milestones in global influence. Parasite director Bong Joon-ho is the first Korean filmmaker to win the Academy Award for Best Director. It also tied Walt Disney for the most Oscars awarded to individuals at a ceremony.

Bong's Parasite is the first South Korean film to win the Best International Film award and the country's first foreign-language film to receive an overall award for Best Picture. The parasite was equally impressive, becoming the first South Korean film to win the main prize, Palme d'Or, at the prestigious Cannes Film Festival. The parasite was the first film after Marty in 1955 to win a top prize at both the Cannes Film Festival & the Oscars.

These were not the only price records that Parasite broke in 2019. The parasite also broke several financial records, including the most foreign film opening weekend ever for the UK box office and several records with the Indie box office.

The recorded trend for Parasite films continues. After Hulu's exclusive streaming catalog, it became the platform's most-streamed film in both the independent film category and the international film category.

The cultural intensity surrounding the Parasite is highly desirable, and parasite director Bong Joon-ho is expected to have more audience members to watch previous films and more South Korean movies in general.

To me, "Parasite" is best described as a sad horror story, though disguised under eighteen layers of well-designed (and flawlessly photographed) generic variants. Played by a fantastic ensemble that conflicts with every note and harmonic resonance of Bong and co-writer Han Jin-won's multi-tonal script, it is a tragedy-comic masterclass that gets under your skin and feeds your cinematic soul.

I can't imagine Bonn making a movie called "Symbiosis" because the title "Parasite" is as cute as a popper and deserving a response to "The Host" in a blink of an eye. The helpless anger he feels about it affects every frame of this incredible movie, and as a result, makes us all a little richer.

Movie Review - Sherlock Holmes

Sherlock Holmes is a 2009 mystery film action film that borrows critical elements from Arthur Conan Doyle's well-known stories, including Sherlock Holmes and Dr. Watson's main characters. Guy Ritchie directed the film, and the producers were Joel Silver, Lionel Wigram, Susan Downey, and Dan Lee. The movie's screenplay by Michael Robert Johnson, Anthony Peckham, and Simon Kinberg was developed from Lionel Wigram and Michael Robert Johnson's story. Robert Downey, Jr. and Jude Law performed as Sherlock Holmes and Dr. Watson.

Holmes is investigating a series of murders involving secret rituals. Lord Blackwood is a mysterious villain. The story ends in a barrier at the top of the Tower Bridge, which is still under construction.

The film was released on December 25, 2009, in the United States and on December 26, 2009, in the United Kingdom, Ireland, and the Pacific regions as stated in social media marketing blogs.

The Short Story:

Sherlock Holmes and Dr. Watson have a series of murder mysteries to solve. The murders are suspected of having been committed by an ancient cult. Holmes and Watson's investigation leads to a ritual performed by Sir Blackwood. They saved the victims and arrived just in time to catch Sir Blackwood. The judge sentenced Sir Blackwood to death to be executed three months later.

Holmes and Watson were fed up with not having a case. Dr. Watson met Mary Morsten, and Sherlock Holmes met criminal leader Irene Adler. When Lord Blackwood's execution arrives, he asks Dr. Watson to come as a witness. Lord Blackwood is sentenced to death, and Dr. Watson confirms it. Several days later, many mysterious murders took place. Eyewitnesses told police that Blackwood was involved in the murder. Sherlock Holmes and Dr. Watson are again engaged in the investigation. At one point, they are arrested and charged as criminals. The police took him to jail and the next day to the doctor. Watson was released on bail by Mary Morsten. Sherlock Holmes was later taken to the Four Order Temple and met with Sir Thomas and Lord Cow Ward. He has been asked to stop Blackwood, Sir Thomas's son, who Blackwood and Ambassador Standish assassinated.

Blackwood and Lord Coward's next target kills a British MP. Sherlock Holmes and Dr. Watson can find a killing machine that contains cyanide. After the fight, Sherlock Holmes can capture Blackwood. But Blackwood is accidentally hanged from the chain.

The Movie Plot:

In 1891 London, John Watson's race to stop the rite of human sacrifice was conducted by Sherlock Holmes and Lord Blackwood. Holmes and Dr. Watson arrive just in time to stop a sacrifice ritual and neutralize Lord Blackwood. At the same time, Holmes rescues Watson from a glass shard that Blackwood used to kill his enemies, whom he rarely saw until the last second, then led by police, Inspector Lestrade comes and arrests him. Blackwood's execution continues three months later, with Holmes getting bored without a recent case. Watson plans to marry Mary Morsten as he prepares to leave 221B Baker Street to start his own business. Asking Holmes to appear on the day of his execution, Blackwood warned that there would be three more deaths after his execution, which would change the nature of his world. Blackwood was hanged, and Dr. Watson declared him dead.

Holmes reunites with Irene Adler; a world-class criminal Holmes is obsessed with. She provides him with an amount to investigate the case of a missing redhead dwarf named Reordan. Holmes quickly disguises himself and chases Adler as she leaves to find Adler's employer's identity, but with only a glance, he can infer that he is a professor.

Three days after Blackwood's execution, his grave's inside is found destroyed, and eyewitnesses report that Blackwood left. Holmes, Watson, and Police Inspector Lestrade discover that the body of a red-haired dwarf is in Blackwood's coffin. Holmes takes a pocket watch from a corpse, finds it came from a London pawnshop, and obtains its owner's address from the company. They discover various chemical experiments among the dwarves. They avoid being captured by three thugs, arsonists who have come to destroy the house's evidence. An elaborate chase follows, in which Holmes and Watson narrowly escape death several times and end up with a steamboat built in a naval shipyard sinking in the Thames. The couple is later arrested for damaging the property.

Dr. Watson is soon released on bail by Miss Morsten, while Holmes is kept in prison and later taken to the secret society temple, which dabbles in a secret society. Sir Thomas and Lord Coward state that Blackwood was a former member and implored Holmes to help stop him. Holmes has declined offers of his generous reward but continues to pursue the case on his terms. During the conversation, Holmes states that Blackwood is Sir Thomas's son, a secret Sir Thomas confirms. While Holmes and Watson were investigating, two high-ranking members of Blackwood's Order were mysteriously killed. Sir Thomas was drowning in his bathtub, and there was no trace of anyone there. Later, Ambassador Standish falls into the flames trying to shoot Blackwood at an Order meeting.

With Lord Coward's support, who has emerged as his longtime ally, he has since taken control of the Blackwood Order and intends to persuade Britain to re-occupy the United States because of the Civil War. Blackwood ordered Coward to issue an arrest warrant for Holmes. Holmes and Watson follow the clues of an industrial massacre, where they are taunted by Blackwood and forced to save Adler from a death trap on a conveyor belt. Watson chases Blackwood but is caught by a stretch line, causing an explosion; Watson can warn Holmes and Adler about safety, but he is seriously injured. Holmes learns that the police are looking for him and are in hiding. He realized that Blackwood was trying to cast a spell based on the Sphinx, in which the three victims tied the three components of the mythical creature animals: man, bull, and eagle. Holmes depicts that the fourth symbol, the lion, represents the British Parliament. Homes allows Listed to be arrested and approached by the Home Secretary. More confident, Lord Coward unveiled a plan to remove all Blackwood Lords except those loyal to him. Holmes escapes, throws himself out of a window into the River Thames, and is rescued by awaiting ship with Watson and Adler.

The film culminates on the unfinished Tower Bridge. The three of them enter the sewer system under Parliament and discover a complex machine based on the experiments of a dwarf that has a radio control trigger to release a cyanide derivative into the parliament buildings. The three-fight Blackwood's men throw the cyanide cylinders out of the car. Adler grabs the tanks and hurries in the company of Holmes. Meanwhile, Blackwood and Coward realize that their plan has failed and will try to escape. Blackwood manages to go, but the Coward can't leave. Holmes faces Adler at the top of the Tower Bridge, which is still under construction because she has nowhere to run; however, Blackwood's arrival knocks Irene down to the lower platform where she was knocked unconscious. Holmes ties Blackwood in ropes and chains, and Blackwood hangs more accurately over the river Thames. Still, Holmes acknowledges that all of Blackwood's "egoistic" works are merely science and technique applications. Holmes intends to put Blackwood on trial and execute it properly, but a loose beam falls off the previous support, causing Blackwood to fall from the bridge and hang from the chains.

Holmes helps Adler recover, even though he is handcuffed. She explains that her employer is "Professor Moriarty", and warns Holmes that Moriarty is just as intelligent and more devilish. Holmes replies, "We'll see." Holmes drops the cuff key in Adler's shirt and returns to his friend Watson. Police arrived to report a dead officer found near Blackwood's device, and Holmes said Adler's pursuit and Blackwood's fight was a diversion from Moriarty, one of Blackwood's remote control devices. They were then used to pick up this machine from a single device. Holmes accepted the case.


Robert Downey Jr., as Sherlock Holmes. When Downey learned of the project, he visited Joel Silver's office with his wife, producer Susan Downey. Downey and Ritchie are both martial arts enthusiasts, inspired by Baritsu, mentioned in the 1901 story "The Adventures of the House of the Sky." Downey lost weight in the area as he recommended that Holmes look "thin" and "thin" during a chat with Chris Martin.

Jude Law, Dr. John Watson, Holmes' ally, surgeon, and combat veteran. Watson Law looks like the original character, more than the weird idiot companion that actor Nigel Bruce popularized in the 1930s and 40s movies. Law developed a short story notebook to facilitate his dialogue. Richie was originally going to cast Russell Crowe for the role of Dr. Watson. Rachel McAdams as Irene Adler, a New Jersey girl who has twice surpassed Holmes. In the film, Irene is no longer married to Godfrey Norton, and Holmes needs help. Downey persuaded Richie to appoint McAdams, arguing that she didn't look too young for his love interest.

Lord (Henry) Blackwood, Mark Strong as a primary opponent. An aristocratic person is magically addicted to forcing others to obey his commands. Strong is working with director Ritchie for the third time and says he appreciates the director's field of interest and how easy it is to work with him.

Critics' Review:

The film has received rave reviews from film critics in general. Reviewer collector Rotten Tomato reports that 68 out of 192 reviewers gave the film a positive rating of an average rating of 6.1 out of 10. The "Top Critics of Rotten Tomatoes," which includes well-known and notable reviewers of top newspapers, websites, television, and radio programs based on a sample of 34 reviews, received a total of 53% approval. The consensus according to seo consultant on the site is that "Guy Ritchie's directing style may not fit an update on the legendary crime detective, but Sherlock Holmes benefits from the elemental appeal of a solid performance by Robert Downey Jr." The Metacritic, which assigns a weighted average score of 1 to 100 reviews from film critics, has a score of 57 based on 34 reviews.

Roger Ebert from the Chicago Sun-Times gave the movie three out of four stars, emphasizing the movie's essential characters, images, and action-packed plots. The character was also praised by Shave Magazine's Jakut Murinson, who believed Downey Jr. and Law were "perfect matches" and Strong was a "charming and eerie villain." AO Scott from the New York Times, an online platform and product of responsive website design, was more cautious, noting that the director's approach to movies was "making great movies about cool guys with cool things" and that Sherlock Holmes was essentially "a series of poses and stunts." They were "sometimes" "distracting" at best.

Many critics have pointed to Conan Doyle's vision not being followed. Jonathan Hackman, a critic of Evansiders, thought it had been removed from the source material to such an extent that it "could have a neutral effect of pushing the audience back into the book." David Stratton was scary, calling it "the scandal of one of Conan Doyle's narrators and one of the great characters of fiction." He described the plot as "absolutely no Sherlock Holmes territory," When he acknowledged that the film was entertaining, he said it "trampled on the greatest literary creation in action."

Audience Review:

This movie has a great story with an unexpected scene according to Online Magazine and News Website. The executed criminal can escape the death penalty and commit more murders. As for the film's plot, there must be some villains who have been chased and escaped several times. Good people always win and be heroic. The film succeeds on the commercial side. The production cost shows that it is $ 90 million, and gross sales have reached $ 389 million.