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“Sherlock” lives on. With fewer CGI editing tricks this season.
The young Sherlock Holmes played by Benedict Cumberbatch is envisioned as a man not fully formed, a dashing figure with a brilliant mind, dealing with social ineptitude, still trying to grasp concepts like friendship and sentiment.
He’s clearly confused by sex.
The sight of Holmes confronting a dominatrix, as he does in this season’s first installment, based on Doyle’s “A Scandal in Bohemia,” is wildly amusing. The whip-smart dominatrix Irene Adler is played by Laura Pulver (“True Blood”), who conveys the sense of danger as Holmes brings logic to bear on sometimes illogical events.
In the hands of writer Steven Moffat (“Doctor Who”), the modernized “Sherlock,” launching season 2 on Sunday (9-10:30 p.m. on RMPBS), is a witty take on Arthur Conan Doyle’s invention.
Cumberbatch is a long, lithe Holmes, perfectly playing the famous sleuth’s eccentricities. As he calculates data in his head, numbers and letters get a graphic read-out onscreen. This trickery was overdone in the first season but is nicely under control this time.
Martin Freeman (“The Hobbit”) is a solid Watson, not stodgy or befuddled like previous interpretations, and not a mere plot device, but a manly sidekick. (The two are frequently mistaken for a couple, perhaps a nod to years of literary analysis of the pair).
This season’s three installments — “Scandal in Bohemia” is followed by a scary “The Hounds of Baskerville” and “The Reichenbach Fall” in which nemesis Moriarty (Andrew Scott) returns — make a pleasingly diverse set.
Joanne Ostrow: 303-954-1830 or jostrow@denverpost.com
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