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Unfortunately, the gameplay is where The Plane Effect lets itself down somewhat. That helpless dystopian vibe is absolutely nailed here. It looks fantastic too a minimal colour palette has been employed to great effect. Its atmosphere is excellent, and as you move from one level to another, the ambience simply grows, creating a world that you don’t quite understand but can’t help but get lost in. Certainly less than ideal.Ī surreal adventure about simply trying to make your way home, The Plane Effect has a lot going for it. And all just simply trying to get home from the office. ![]() ![]() ![]() He’s got alternate realities, deadly drones, crime scenes and sewer-tentacles to deal with. IGN REVIEW SHERLOCK HOLMES CRIME AND PUNISHMENT PATCHAnd by allowing us to enter Sherlock's mind palace, we were able to finally watch Holmes and Moriarty go toe-to-toe at the Reichenbach Falls.īut it felt more like an amusing departure rather than anything more substantial or cohesive, and it was a relief to be back with present-day Sherlock at the film's end, ready for his story proper to continue when the show returns in 2017.Imagine the worst journey home from work you’ve ever had.Īs bad as traffic, public transport delays and inclement weather may be, it’s not a patch on The Plane Effect‘s protagonist’s journey home from work. The insights into Holmes' drug addiction were both tragic and enlightening. This was perhaps the most frightening Sherlock thus far, with the white-faced, red-lipped bride genuinely terrifying, particularly when hunting her prey in a foggy maze. Their were terrific moments along the way. But it meant that the stakes were pretty low, and made the solving of the case of the bride somewhat irrelevant and something of an anti-climax. It was an ingenious conceit, and one that allowed Cumberbatch's Sherlock to again face-off with Andrew Scott's Moriarty in a pair of scintillating scenes. For this wasn't a standalone period piece, but rather an investigation playing out in Holmes' mind in the present, as he endeavoured to figure out how Moriarty could be back from the dead. That's because once Holmes and Watson were investigating the case of a murderous ghost, the true intentions of the episode were revealed. And when the story did get going, those aforementioned extremes never really seemed to be reached. Gatiss and Moffat took a mention of "the case of Ricoletti of the club foot and his abominable wife" from The Adventure of the Musgrave Ritual and turned it into a mystery of their own, one that will apparently push Holmes to "mental and physical extremes." But it had several false starts, with Mary, Lestrade and a worried wife all asking Sherlock for help before the mystery kicked in, making the first half of the episode somewhat exposition-heavy. Trouble reared its head in terms of the story proper, however. The setting also allowed the writers to put right the wrongs done to Conan Doyle's words to make them contemporary, so our heroes wear their traditional Victorian get-up, Holmes summons people by telegram rather than text, and Watson is back to writing their adventures for the Strand magazine rather than his blog. The episode started out as what appeared to be a soft reboot, re-introducing and re-establishing the characters in speedy fashion, with Watson injured in the Afghan War, meeting and moving in with Holmes, and the pair soon solving crimes for a living. And it wasn't an entirely successful one, the setting marvellous, the performances solid, and the jokes good, but the story itself convoluted and at times a little too silly. IGN REVIEW SHERLOCK HOLMES CRIME AND PUNISHMENT TVSo this one-off special - which screened in UK cinemas as well as on TV - took something of a chance by messing with that formula, the story unfolding in Victorian London. And Benedict Cumberbatch and Martin Freeman were perfectly cast as Holmes and Watson, making their dynamic duo one of the small screen's most winning double acts. Taking Arthur Conan Doyle's detective tales and giving them ingenious modern-day spins creators/writers Mark Gatiss and Steven Mofatt crafted shows that were less television episodes and more self-contained movies. The show has been one of the BBC's great success stories of the last few years. ![]()
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