Film Review – Enola Holmes 3

July 6th, 2026 | POSTED BY Allen Almachar

The Enola Holmes films might be the most consistently decent series in recent memory. That might sound like a backhanded compliment, but given the times we live in, a movie simply being “Ok” is not always a guarantee. While not groundbreaking in any sense of the word, the Enola Holmes series manages to be engaging and lighthearted enough to provide two hours of time-filling entertainment. The latest installment, Enola Holmes 3 (2026) might be the best of the bunch so far, using the foundation established by the first two entries and taking things in new directions. To be fair: If you didn’t like this franchise before, there won’t be much here to suddenly change your mind. But if you’ve had fun with it thus far, chances are you will enjoy what it has to offer.

The biggest change this time is the location. No longer are we in the fog-filled, cobble stone dreariness that is Victoria-era London. This time, we are whisked away to the picturesque, sun-kissed island of Malta. We find our young detective, Enola (Millie Bobby Brown) set to marry her fiancé, the lord Tewkesbury (Louis Partridge). Everything seems to be set for a fairytale ceremony, but as expected, things don’t go according to plan (we wouldn’t have much of a movie if they did!). We learn that Enola’s brother, the famed Sherlock Holmes (Henry Cavill) has gone missing. To make matters worse, Tewkesbury’s mother (Hattie Morahan) has also disappeared without a trace. Enola – accompanied by Tewkesbury, Dr. Watson (Himesh Patel), Anola’s mother Eudoria (Helena Bonham Carter), and political activist Mikiel (Joe Azzopardi) – go on the hunt for the missing persons and to ascertain any potential suspects.

Directed by Philip Barantini and written by Jack Thorne (adapting Nancy Springer’s book series), Enola Holmes 3 translates the same style and tone of the previous installments. Just as before, we see Enola weed through clues and details of her investigation with a modern, pop-centric personality. Even though the story is set in the past, it has a fully modern perspective – from the animated montages, the constant 4^th wall breaking where Enola speaks directly to the audience, to the progressive stances on love, gender dynamics, and marriage. This release takes things a step further given the location. Although the narrative never truly dives deep into the intricacies of its themes, it does touch upon the effects of British colonialism. Mikiel represents the side of Malta that wishes to be free and self-governed. Of course, that element is never fully explored outside of the requirements of the plot, but it does add a new wrinkle to the formula.

Enola and her friends take the long way around to tie all the pieces together, eventually arriving at a revelation we can see coming from a mile away. But still, the journey to get there is worth it. The cinematography (Matthew Lewis) and editing (Tommy Boulding) capture some gorgeous views of the island – from the ancient buildings, the expansive grasslands, to the stark blueness of the surrounding water. Malta looks like a great place to go on vacation. There are plenty of set pieces that take advantage of this backdrop, including (but not limited to) chases on foot through the city streets, on horseback, encounters in cave dwellings or underneath the city, to a moonlit rendezvous in the water, etc. Say what you will about the movie itself, but it’s hard to deny all the eye candy splattered across the screen. 

One of my biggest issues with the series is how Enola – despite how fiercely independent she is made out to be – leans on other people as a crutch when things get tough. If she gets into trouble or is befuddled by a case, those around her – particularly her mother and brother – will appear out of nowhere to save the day or give the perfect advice. It’s a bit of a storytelling shortcut, where Enola is handed everything she needs to survive instead of relying on her own wits. The writing and direction try to circumvent this issue by removing Sherlock out of the equation. However, the inclusion of flashbacks brings everything back around. Instead of Enola visiting Sherlock for a quick bit of brotherly support, he shows up in her memories to do the exact same thing. Eudoria is a more egregious example of this, where she will just pop up out unexpectedly to guide Enola in the right direction. I understand that Enola is the main character and her arc is the one we follow. However, having Sherlock and Eudoria act as “Get Out Of Jail Free” cards whenever Enola is in a jam is a bit too convenient for my taste.

Still, for the most part I had a good time with Enola Holmes 3. I’ve appreciated how the character has grown throughout the three films, alongside Millie Bobby Brown growing as a performer. In the first entry, Enola was a scrappy go-getter hungry to make a name for herself. In the second, her determination gave her the opportunity to solve a case on her own, apart (but not really) from her more famous brother. In the third installment, we find her as a young woman, who no longer sees her last name as something to be resentful for but as a source of pride and accomplishment. The film does act as a kind of culmination of everything that has led up to it. Whether that means this is the end of the franchise is still up in the air, but it does feel like a major chapter of Enola’s life has closed. 

Enola Holmes 3 doesn’t do anything to win over detractors. At this point into the franchise, you’re either with it or you’re not. If you are a fan, you might find this latest release a breath of fresh air. The new environments add a unique charm to the familiar material. While the twists may not be that twisty and the surprises not all that surprising, the carefree sincerity of it goes a long way in terms of enjoyability. 

Enola Holmes, Enola Holmes 3, Hattie Morahan, Helena Bonham Carter, Henry Cavill, Himesh Patel, Jack Thorne, Joe Azzopardi, Louis Partridge, Matthew Lewis, Millie Bobby Brown, Nancy Springer, Philip Barantini, Tommy Boulding