Enola Holmes 3: A Whimsical Adventure That Balances Style Over Substance

Enola Holmes heads to her wedding…alone

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“I’m not a lady yet,” detective Enola Holmes declares passionately, standing atop a carriage in her wedding veil and wielding a revolver. This moment, less than five minutes into the third installment, encapsulates the franchise’s core spirit—Enola’s refusal to conform, even as she faces one of life’s biggest milestones.

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Millie Bobby Brown returns as Enola Holmes, reprising her role as both star and producer, alongside husband Jake Bongiovi, now an executive producer. The latest entry in Netflix’s beloved series follows Sherlock Holmes’ quick-witted sister as she steps further into adulthood, though it remains to be seen if she’s truly ready for the next chapter.

The previous film saw Enola grappling with self-doubt and the weight of her Holmes legacy, while Sherlock immersed himself in a case. The follow-up sees Enola still wrestling with identity, though this time Sherlock’s absence isn’t merely coincidental—it’s central to the plot.

The story begins with a chilling teaser involving an escaped antagonist and missing artifacts before whisking Enola to Malta, where she prepares to marry Louis Partridge’s Lord Tewkesbury. Her charity work thrives, her relationship with her liberal fiancé is strong, and on the surface, life seems perfect. Yet during an obligatory wedding dress montage—another nod to the suffocating expectations Enola faced earlier—she questions whether she’s ready to abandon the life she’s built as Enola Holmes.

Despite a seemingly happy life with Tewkesbury—sharing dances, caring for a wounded mouse, and more—Enola’s doubt lingers. The name “Enola Tewkesbury” lacks the same punch. Fortunately, her existential crisis is interrupted when Dr. John Watson (Himesh Patel) delivers urgent news: Sherlock has been kidnapped.

The film dives into a spirited mystery filled with Malta’s vibrant markets, shadowy murders, and a decades-old conspiracy demanding revenge. Henry Cavill’s Sherlock appears briefly—just six minutes of screen time, including a CGI-enhanced appearance at the climactic wedding. While Sam Claflin’s Mycroft is absent, likely due to scheduling, Helena Bonham Carter shines as Eudoria Holmes, bringing warmth and chaos in equal measure.

Himesh Patel delivers a heartfelt performance, particularly in a touching scene with Partridge. Though his brief moment touches on systemic racism, the film’s earlier exploration of inequality in “Bait” offered deeper commentary on the matter.

As expected in a Holmes adventure, the villain is none other than Irene Adler’s counterpart, Anthony Moriarty. Sharon Duncan-Brewster’s performance is undeniably theatrical, with manic laughter and villainous flair. Her fight scenes with Enola are evenly matched, setting the stage for potential returns in future installments.

Like its predecessors, the film tackles a timely social issue. The first addressed suffrage, the second adapted the Matchgirls’ Strike. This time, director Philip Barantini and writer Jack Thorne shift focus to colonialism and Britain’s imperial past. Lines like “The British empire cannot admit guilt” and “Many men get distracted by greatness and lose themselves” underscore the film’s thematic aims.

The film rewards viewers with moments that resonate, such as “I am not frightened of society so that I will not conform to its wishes.” The idea that men can be both monstrous and loving—parents included—feels especially relevant today, if one reads between the lines.

Still, none of these lines compare to Susie Wokoma’s Edith’s quote from the first film: “Politics doesn’t interest you. Why? Because you have no interest in changing a world that suits you so well.” That line, aimed at Sherlock, remains unmatched in its clarity and purpose.

While the mystery may lack airtight plotting and the performances aren’t Oscar-tier, the film succeeds as a comforting watch. At a time when family-friendly entertainment is scarce, Enola Holmes fills that void with charm, youthful energy, and a soundtrack worthy of applause.

Is the plot tight? The pacing flawless? Are the performances legendary? Not quite.

Still, the franchise’s appeal lies in its whimsy, its heart, and its commitment to young audiences in need of spirited, fourth-wall-breaking heroes. In an era of digital noise and cultural division, Enola Holmes offers something refreshing: joy, wit, and a reminder that questioning authority isn’t a flaw—it’s a gift.

So, more Enola Holmes, please. And if Sam Claflin could return as Mycroft, even better.

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