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The film has shooting, hand-to-hand combat, trash talk, and a woman wearing a suggestive outfit, but so does every other film. In 1994, you had to watch a Jet Li film for this kind of stuff, but now that's all there is. Viewers demand a story and a semblance of logic. This film offers none of those. The film's main premise is Olson's mission: Dismantling a dangerous, autonomous doomsday weapon. He is not carrying any dismantling equipment, though. Instead, he has come with Iris, the activation key to that doomsday weapon! Seriously, who gave him Iris? If I were to dismantle a doomsday, Dr. Strangelove-type nuke, I'd want a disarming kit, not a remote detonator! It goes without saying that the film is about bad guys trying to steal Iris from Olson and activate the doomsday weapon. In addition to this glaring plot hole, the film's armored soldiers, mechs, and guns seem to have been ripped off from the 2001 video game Halo. Iris and Hitomi's movements remind me of Marlene from FF7 Advent Children.

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Once the charm of good acting and the dazzle of the colorful photography wears off, you are left with a vapid film, with so many plotholes and so little plot.

First, what's the premise of this film? A girl grows up with her mother; one day the mother leaves; the girl goes after the mother and doesn't find her; the Reform Bill gets ratified. The End.

Second, the film has a claim of being a Sherlock Holmes derivative, but none of its characters adhere to that canon. The kindhearted, unambitious, lazy Mycroft has become a rich, scheming oppressor with no agenda. Lestrade has become a shifty character and Mycroft's lackey. Sherlock does not have any assistants, not even John Watson! He works alone! It is not even a mystery film. It is part comedy, part pseudo-history, part action, part feminism, and part word play. (It is not good at either.)

Third, the original character Enola Holmes is self-contradictory at best. When a stranger man (Linthorn) strikes her, she retaliates with fists and fire. When a stranger woman (Miss Harrison) attacks her, she cries like a baby. She surrenders herself to give the person she loves a chance to escape, like a strong woman. She cries for being caught, like a baby, apparently not remembering that it was her own choice. Other characters are even more farcical. Miss Harrison travels alone to a remote country house, proceeds to take the measures of one of its occupants, insults her and slaps her, without having the superior strength or any authority over her. In Arthur Conan Doyle's Sherlock Holmes, the likes of Miss Harrison get murdered. In the real world, they get beaten up or sent to prison.

Fourth, the villain's primary means of impeding Enola Holmes is omniscience. He just knows where Enola is going; no satellites, drones, smartphone intercepts or GPS needed.

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The first season of Legend of Korra was innovative and acceptable. The second, not so much. The third season was unwatchable. And the fourth season, which, I think never made it to TV, put up a noble and desperate attempt to improve the quality and failed. It failed honorably but failed nonetheless. It created Kuvira, the most formidable enemy Korra had faced to date, but the story was essentially a bloated version of "when the cat's away, the mice play." The filmmakers even had to make an episode in which one of the characters summarizes the past episodes with ludicrous embellishments, just to meet the number of episodes necessary.

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When I was a child, I knew that if my father was to blindly watch a film, his default go-to option of the genre was always the Spaghetti Western. He always said they are the easiest not to take seriously, and the easiest to forget. Because I was a child back then, I did not understand. I watched anime works by World Masterpiece Theatre and occasionally, Walt Disney cartoons. I did not want to forget those and I want (even now) to take them seriously. But now, it is very difficult to find a film that does not penetrate deep into one's life. It becomes harder to staunchly believe that whatever you see on TV or theater is factually inaccurate. They seem devilishly plausible.

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You won't understand this film, unless you have played the Batonetta video game, from which it is derived. But then, if you have played the game, you won't need a film retelling you the story (or a semblance of it, thereof) that you already know with a few minor changes. This anime is a compilation of violence, blood (rivers of it), gunfire, trash-talking, and in case of its English version, profanity. The voice acting is poor and the animation is choppy.

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Pixar makes fine movies, although, judging by the reviews on Rotten Tomatoes, Metacritic and Critics' Choice, Cars 2 is the worst film it has ever made. Mainly, the Americans have watched one James Bond movie too many and cannot tolerate a Cars derivation of them, let alone one that features Middle-Eastern villains. And yet, since I have watched none, I find Cars 2 very entertaining in a lighthearted way. Moviegoers seem to agree too since the overall CinemaScore rating of this film is A-. That's an incredibly high score for a film that is so relentlessly panned by critics.

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Pixar makes fine movies suitable for all ages, and perhaps this is one of its finest. It has amassed 67 accolades and was nominated for 86 others so far. And from what I can see in the film, I'd say it well deserves the praise it has received so far. The English viewers might want to keep a Spanish dictionary at hand, although in this era, that dictionary would be in the form of a smartphone with Internet connection.

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It is a fun movie to watch once, especially if you have not watched Ocean's Eleven. It had borrowed a lot of ideas from Ocean's Eleven and Ocean's Thirteen. Many events in it, however, fall short of plausibility requirements.

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For a lighthearted superhero movie, it is excellent. Thor is no longer just another Hulk with a hammer. He has to use his brain, and for a person not used to do that, I think he quite outdid himself.

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The idea behind this work is excellent: To create a Sherlock Holmes film that occurs in the modern era. Its computer-generated imagery is simply magnificent. Sadly, all of this is tied down by a very poor derivation. This Sherlock Holmes is self-contradictory; he is a genius, and at the same time, an idiot. He makes inferences and then correct inferences from said inferences, but fails to understand the consequences of his own actions. Quite frankly, it takes a genius to create a film about a genius. Failing that, the film relies on the stale tactic of introducing a recurring villain to compel the viewer to watch the series. Failing that too, nudity and sex appeal comes into play.

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I was ready to give it five stars the first time I saw it. One cannot help but get astonished with all the detailed computer-generated imagery. Watch it a few times and when that magic is lost, you'll notice unintelligent human-beings, poor voice acting, character inconsistencies, soldiers using incorrect NATO brevity codes all the times, and other utterly intolerable mistakes.

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The film is a poorly researched excuse for showing a lot of gunfire and a lot of dead bodies. The protagonist's only virtue is racking up kill counts. Everything else is hacking cliche or incompetent U.S. military cliche.

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