WasAnnon Slow pace in the most part of the movie.

Aiden Melton The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Tymon Sutton The acting is good, and the firecracker script has some excellent ideas.

Dana An old-fashioned movie made with new-fashioned finesse.

emilymcdougall I watched this movie and was not impressed it was supposed to be a really good film love Sherlock Holmes but this was just not for me

Robert J. Maxwell This modernized version of "The Speckled Band" isn't nearly as bad as it might be. True, the print is lousy, full of loud hums and crackles, and the villain, Grimsby Roylott, brings too many theatrical effects to a movie, and the writers gave Holmes the wrong address on Baker Street. But Raymond Massey as Holmes is cool. After all, it could have been Arthur WONTNER.Come to think of it, though, I said that Grimsby Roylott, the heavy, uses stage-bound techniques but that's not strictly the case. His performance is so over the top that, if the frame were other than it is, he could turn the entire production into a parody of "The Speckled Band." He's awesome in his malevolence. He resembles Edward Arnold, tall and hefty. He hardly ever blinks his eyes. He stares at the floor, hunched over, grimacing, cackling, as he contemplates his misdeeds. His port de bras is like Duke Mantee's and he wriggles his fingers in anticipation.There's nothing amiss with the dialog though, and the writers have added one or two features (eg., a mirror allowing Roylott to look downward from one room onto the bed of another) that are entirely in the spirit of the original story. The film is by no means an insult to Conan-Doyle.Some parts of the plot seem to have been chopped out of the print. For instance, in examining Dr. Roylott's room, Holmes examines the saucer of milk and makes some remarks about it, but it's never referred to again. It really needs a scene in which Holmes explains just how Roylott planned and executed the murder -- and why.As it is, the final scene is a little melancholy. Watson has just come from a wedding and invites Holmes to the reception. Holmes says "Not in my line." Watson observes cheerfully that marriage "come to all of us" sooner or later and leaves. Holmes is left alone at his desk, and says thoughtfully, "Not all of us, my dear Watson. Not all of us." It's the kind of touch that separates Sherlock Holmes from other detectives of the period.I haven't said much about the plot, reckoning that most people likely to look up this film are already familiar with the story. If they're not, there's no point in revealing too much of its snakish character.

Stampsfightclub I first watched this crime programme for my media studies lesson and found it wonderful The acting by everyone involved is superb and they really capture the essence of the characters to make it a thrilling exciting crime story full of twists and suspense the TV show is beautifully adapted from one of my favourite crime novels - i especially love the twist at the end The story follows infamous detective Sherlock Holmes who is asked for help by a wealthy woman who is nervous about her upcoming marriage but more importantly the man she lives with, the evil Rylotthaving stereotypes of villains and detectives works wonders as audiences can associate with their personalities The character of Sherlock is wonderful - he is sharp, elegant and an enthusiast - making him a joy for audiences of all ages to watchif you like crime, suspense and mystery then i definitely recommend this!

Pangborne This is exactly the kind of thing I look for in an old Sherlock Holmes movie; atmospheric, almost Victorian, with old clichés played straight.The villain almost twirls his mustache. The whole thing creates perfectly creepy suspense with beautiful camera work and expressionistic sets that still have that silent movie movie, though four or so years into the sound era. Montage sequences pop up frequently, and the actors are often caught in a profile. Shots are often in deep focus, with shafts of light illuminating a distant figure in white - most often the heroine, terribly vulnerable in the cavernous spaces of the derelict old mansion. Simple suspense techniques remain effective, and the movie conjures a far more convincing world of fairy-tale menace than the Sherlock Holmes movies of just a few years later, when the light gets flat, the sets get thin, and the puzzle aspect of the crime overwhelms the horror and suspense. To my way of thinking, Sherlock Holmes movies should have a Grand Guignol element that borders on the supernatural; the more they become just puzzling crimes, the less interesting they are.