'Sherlock' season 4 episode 2 review: Watson & Holmes #221BringIt in 'The Lying Detective'

Sherlock season 4 Episode 2, 'The Lying Detective,' more than makes up for most of the complaints people might have had with the season opener. There is pace, there is a mystery, and there is a worthy opponent.

In the episode, Sherlock is on Shezza mode dialled to 11. Billy Wiggins makes a return so we can imagine the amount of help the younger Holmes brother needed. But the 7% solution has done very little to slow that brilliant brain and helped him pick a fight with Culverton Smith. A villainous mind hiding in plain sight and working under the limelight. Since we've already warned you about the spoilers, it makes it safe to mention that when Smith talks about finally being famous and the possibility of breaking into American market after the prison sentence, it's a jab at how we have changed our perspective of what is normal thanks to reality shows. It's observations and dialogues like that lift the show from the damp squib that 'The Six Thatchers' was.

Sherlock needs to catch this villain while struggling with the monsters that hound him and John Watson. The relationship between the detective and his blogger is strained more than ever because John is learning to cope with the death of his wife, the wife he cheated on, the wife who lied to him, the wife who is still in his head, cracking wise remarks. Sherlock's case comes as a coping mechanism. Though reluctant, John is part of the game now. He is seeing the battleground and there is no need for him to be replaced by a balloon. He has to save Sherlock from himself and from Culverton Smith.

Sherlock, on the other hand, has gone to hell, as instructed by Mary in the CD she sent him containing an after-death message. He is constantly proving that he has his wits about him by predicting people's behaviour well in advance to get Smith to confess. He is subjected to Watson's wrath filled with punches and kicks. It's all about saving your friend.

Per Steven Moffat's promise, the episode is dark and has the most manic villain of them all. But he is utterly predictable. This is what helps the viewers to get a feel of the fast pace. They can think ahead when it comes to Toby Jones' Culverton Smith. Jones' laugh should earn him brownie points with Marvel if they plan on using him for HYDRA stuff again.

Martin Freeman is flawless yet again. Freeman's face, expressions, and twitch of hands do more talking than the silent murmur of his confession about cheating on Mary. Also, kudos to the makeup and costume department of Sherlock. Freeman — even distressed, sad Freeman — looks like a million bucks in that midnight blue coat and buttoned up shirt and nicely swept salt and pepper hair. Cumberbatch looks just as wretched as he gets into the psyche of drug-addled Sherlock. More prominent cheekbones, hollowed cheeks, and the dancing-while-you-walk gesture he has perfected since the days of Tinker Tailor Soldier Spy. There is no trace of Sherlock from 'The Six Thatchers', no trace of the Doctor Strange attitude. When he recites the 'Once more unto the breach' speech from Shakespeare's Henry V, it's a treat combined for fans of Cumberbatch, Sherlock, Shakespeare, and Henry V. 

Then there is Mrs. Hudson. Una Stubbs' character deserves a special shout out. She breathed life into this dark episode. You actually want to look forward to her next scene through the entire episode. We finally see her utter, 'You reptile' to Mycroft Holmes and that is one of the most satisfying scenes in the entire series. Mama Hudders knows her Sherlock better than Mycroft, John, Mary, and, I'd dare say, Mummy Holmes.

Things that bothered me again have to do with Mary Watson and, this time, Irene Adler too. Mary is calling the shots from beyond the grave for both John and Sherlock. John seeing her everywhere is still something one might be able to sell to the audience. But Sherlock following her request and literally going to hell to 'save John Watson' feels too much. With Irene, it was all about having that intelligent talk. That's why she made an appearance in 'The Sign of Three.' That's why her text alert is heard again. But John insisting on Sherlock taking to another level is not something that fits with either Sherlock or Irene's characters. 

Moffat has written a really good episode. Nick Hurran, who previously helmed 'His Last Vow', keeps the speed crisp and the mystery alive until the end. The best parts were the production design done by Arwel Wyn Jones and the shots framed by cinematographer Neville Kidd. Sleek, minimal and crisp. I must say, Michael Price and David Arnold choosing the climax part of Beethoven's 'Ode to Joy' for the car chase is elegant.

The secret, in the end, will blow your socks off. So you definitely do not want to miss 'The Lying Detective' for 'The Final Problem' may just bring back Moriarty.