Enola Holmes 3 review – Netflix mystery franchise is starting to lose steam

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Millie Bobby Brown returns, along with the creative team behind Adolescence, for an often thoughtful yet ultimately lesser threequel Despite the ever-increasing size and dominance of Netflix, the streamer has continued to struggle with its most obvious aim. While viewers might flock there for smooth-brained dating shows, tawdry true crime, Harlan Coben thrillers and junky romcoms, the platform is yet to be known for creating original movie franchises, the bread and butter of most old-fashioned Hollywood studios, for better or worse. The problem Netflix often faces is that to turn a big-budget bet into a cultural event, it requires more than a low-stakes click at home and a brief weekend’s worth of chatter. Big numbers might have met wannabe franchise-starters Red Notice and The Grey Man but a lack of real long-term interest has meant that sequels haven’t followed, while its most expensive film ever, Chris Pratt vehicle The Electric State, sank with both audiences and critics. It’s why ...
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Kill the Jockey review – a mercurial, skittish crime drama whose hero is a drug-fuelled rogue

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Venice film festival
Luis Ortega’s film veers off the racetrack as jockey Remo drifts around the city streets, pursued by a pregnant girlfriend who wants him back and a gangster who wants him dead

People ride horses for all sorts of reasons, explains the jockey hero of Luis Ortega’s offbeat and stylish Argentinian crime drama. They ride to arrive at their destination more quickly, or to wage war more effectively. Mostly, he says, they ride to escape. This jockey is familiar with the nagging urge to take flight. He is a study in motion, a figure in flux. Show him a fence and he will promptly jump it – or die trying.

There is much to relish in Kill the Jockey, not least Nahuel Pérez Biscayart’s wonderfully stone-faced performance as Remo Manfredini, the rider who absolutely, positively has to win his next race in order to keep a gangster off his back. Biscayart plays Remo as though he is the soulful clown in a silent movie, Buster Keaton with a riding crop. He gives the impression of being the bemused lightning rod for events, as opposed to what he really is: an unruly, drug-fuelled rogue agent who is a danger to himself and pretty much everyone else around. “We know all about your unquenchable thirst for disaster,” says leathery Sirena (Daniel Giménez Cacho), the mob boss, in the brief moment of calm between the scene in which Remo performs a slapstick somersault at the starting gate and the moment when he gallops full-tilt at the race-track’s barricades.

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