n my opinion it was a great movie with some interesting elements, even though having some plot holes and the ending probably was just too messy and crammed together, but still fun to watch and not your casual movie that is similar to all other ones.

a film so unique, intoxicating and bizarre that it not only demands another viewing, but is also forgivable as a satirical comedy where the jokes eventually take the back seat.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Basil Rathbone and Nigel Bruce is great as always in this murder-mystery concerning a Woman in Green. This one is better than the title of the film suggests... hypnotism, severed fingers, open windows, and , of course, murder! There are a few comical moments between Holmes(Rathbone) and Dr. Watson (Bruce), but that is nothing unusual for their on screen relationship. The duo have one of the best partnerships you will ever see on film - this film is no different.We have Holmes and Watson trying to find the mystery of the murdered women each with one of their fingers cut off - who and why? Trying to solve this mystery before Sherlock and Dr. Watson does is a great way to spend an hour and a half. 7.5/10

Sherlock Holmes (Basil Rathbone) once again faces off with his nemesis Professor Moriarty (Henry Daniell), as well as a beautiful hypnotist (Hillary Brooke), in this entertaining entry in Universal's Sherlock Holmes series. Henry Daniell was probably my favorite Moriarty from the series. He wasn't hammy at all. The guy just oozed intellectual evil. Rathbone and Nigel Bruce are excellent as Holmes & Watson, as usual. Purists balk at Bruce's Watson but I think he's lots of fun and immensely likable. Hillary Brooke has one of her better roles here. Some good direction from Roy William Neill. This is one of the Universal Holmes films now in public domain so make sure you watch a good copy.

Anytime Sherlock Holmes meets Moriarty, he knows he's up against his greatest rival. This time, the mystery concerns a blackmail plot that convinces hypnotized victims that they might be serial killers. "The most hideous case since Jack the Ripper", a Scotland Yard detective notes, just as Holmes claimed in "Spider Woman". This time, Henry Daniell (so memorable in the same year's "The Body Snatcher") is Moriarty, back from the grave to lead the gang of killers using a weapon so vile and cruel it rivals Sweeney Todd's razors in hideousness. There's the usual bumbling humour by Nigel Bruce as Watson and intelligent observations by Holmes to make this one an enjoyable entry in the series. The ending is positively chilling.

It seems inevitable to expect that any film franchise could never stick to an established high standard of quality without the occasional slip, and such proved the case for the 1940s Basil Rathbone Sherlock Holmes films. Belying its striking, dramatic title and the credibility suggested by assembling its plot around sequences extracted from two of author Arthur Conan Doyle's most exciting Holmes stories (The Final Problem and The Adventure of the Empty House), the film's drop in quality from previous offerings is unmistakable and jarring, making it one of the weakest and least fun additions to the Rathbone pantheon.A point of interest is the film's topical influence, seemingly taking example from 1940s film noir detective films, both aesthetically, through its moody, tension inducing shadows and through a particularly detached and grim rendition of Holmes, almost as if styled after the prototype noir detective. Nonetheless, while an alternate 'feel' could have breathed intriguing new life into the film franchise, such aforementioned differences are largely where the innovation (and mostly quality) end. The Woman in Green proves unable to escape its frustratingly feeble script, reducing its characters to the worst kind of extremes and almost forgetting to develop its own mystery in the midst of unnecessary expositional sequences. While the narrative attempts to purloin and rekindle successful elements from past Holmes films (particularly The Spider Woman) by way of a seductively murderous femme fatale, the titular character is subsequently given little role or presence within the narrative, suggesting a hasty and under-explored last minute re-write. Similarly, while the incorporated motif of hypnotism boasts intriguing relevance and dramatic potential, it is only superficially developed, leaving the film lack the profundity as well as originality of its predecessors. Nonetheless, the largest fault of the film is its lacking any sort of scope or gravitas to match its implied drama. Despite with an insidious, borderline supernatural murder spree sweeping London, with the exception of a powerful early sequence with an amnesiac aristocrat lumbering through the city, struggling to come to terms with the horrific crime he seems to have committed, the film feels irritatingly contained and sparse, confined to few interior locations and giving little sense of the larger conflict unfolding, thus muting the drama and accessibility of the film. Moreover, the use of infamous antagonist Professor Moriarty feels like a lazy cash-in on an established character, as the timeless villain has little purpose in the narrative apart from skulking around and the occasional pseudo-ominous threat. His death scene, an offhand, uninteresting and borderline comical fall from a rooftop (a risible knockoff of his exhilarating plummet over Reichenbach falls in Conan Doyle's novel) aptly epitomizes the cheapening and neutered menace of the villain through his screen incarnation.While the inherent pleasure of seeing the usual players take centre stage cannot be denied, equally unmissable is their performances here being among their weakest. Basil Rathbone appears vaguely bored in his staple role as Holmes, seemingly attempting to compensate through overstated character quirks and frequently raising his eyebrows to emphasize 'important moments', though his snappy exchanges with Watson are as enjoyably disdainful as ever. Nigel Bruce appears particularly on autopilot as Dr. Watson, reduced to a broad comic foil of a buffoon more than ever (a sequence where he mocks hypnotism and is subsequently humiliated feels particularly unnecessary and embarrassing), and offering little of interest to counteract the poor script. Henry Daniell makes a particularly weedy and drab Moriarty, coasting by on the character's infamy with nonexistent presence and little threat. Hillary Brooke offers a dash of charisma and energy as the insidious titular woman in green, but her fleeting screen time offers his little chance to shine. While still retaining the inherent charm and fun of the Holmes franchise, The Woman in Green marks one of the most boring, under-thought and sloppily constructed offerings within it. While the irresistible Rathbone/Bruce combination offers enough to enjoy to make the film worth watching by more than Holmes purists, those interested would do better to partake in any of the ample selection of superior Holmes dramatizations.-6/10