‘Enola Holmes 3’ Review A Malta Mystery That Loses Some Spark for Sentiment

Millie Bobby Brown has been the driving force behind this franchise since its inception in 2020, transforming Sherlock Holmes’ lesser-known sister into one of Netflix’s most beloved characters. With two films already released, the series had established a comfortable blend of Victorian mystery, coming-of-age drama, and a touch of fourth-wall-breaking humor.

In this third installment, the formula takes a significant turn, with Philip Barantini stepping in as director and the story moving from the foggy streets of London to the sunny shores of Malta. Enola is on the verge of marrying Lord Tewkesbury, but as the wedding celebrations kick off, her brother Sherlock mysteriously disappears, drawing her back into detective mode while she grapples with the implications of marriage on her independence.

As the plot unfolds, I found myself feeling genuinely conflicted in a way that the previous films hadn’t evoked. There’s a version of this film that dives deep into its darker, grittier elements, and another that clings to the lighthearted, mystery-of-the-week vibe that made the earlier films enjoyable. The final product seems to be caught in a tug-of-war between these two approaches.

Brown continues to be the heart of this franchise, showcasing moments of the wit and warmth that endeared Enola to audiences initially. However, her energy appears to wane this time around, suggesting that even the character may be feeling the strain of proving her capabilities through three films. This left me pondering whether the series might be showing signs of fatigue.

Henry Cavill’s Sherlock is sidelined for a considerable portion of the film due to the kidnapping plot, which makes sense narratively but also diminishes one of the series’ most enjoyable aspects—the sibling banter that added charm to the earlier entries. When he finally returns to the story, his limited screentime feels more like an afterthought than a well-earned comeback, making me miss the easy chemistry between Brown and Cavill that had become a hallmark of the series.

The setting of Malta is a standout feature, with Barantini taking full advantage of the location’s rich texture and grit, contrasting sharply with the London backlots of previous films. A subplot involving a local Maltese character with genuine grievances against British colonialism introduces some intriguing thematic elements, although the film doesn’t fully explore this thread.

Where the film falters most is in its central mystery, which unfolds with surprisingly little tension for a series that revolves around detective work. I found myself identifying the culprit long before Enola did, and the eventual reveal lands with more of a shrug than the satisfying twist a good whodunit should deliver.

Helena Bonham Carter continues to shine in her limited role as Eudoria, bringing chaos and warmth whenever she appears, while Louis Partridge manages to make Tewkesbury more charming than the character might seem on paper. It’s these smaller character moments, rather than the main mystery, that ultimately carry the film’s emotional weight.

By the time the credits rolled, I appreciated what this franchise has accomplished over three films, even if this particular chapter left me craving more in terms of plot and pacing. It remains an enjoyable watch, buoyed by a likable cast and a stunning new backdrop, but the spark that made the earlier films feel effortless has noticeably dimmed. I’m giving this one a solid 7 out of 10, a transitional entry that relies more on goodwill than the sharp storytelling that initially defined this series.

Do you agree with my assessment of ‘Enola Holmes 3’, or did this Malta-set mystery resonate more with you? Share your thoughts in the comments.