The first scene has been described several places now. It's the first thing they've shown everybody. And there's a reason. It's a great sequence, an absolutely pitch-perfect way of putting you inside Sherlock's head. Sherlock meets Watson and his wife-to-be for dinner. Mary (played by the ridiculously gorgeous Kelly Reilly), and as much as he wants to be happy for his friend, he can't. He just doesn't like the world that Watson's opting into, the world of social engagements and evenings out and domestic responsibility. It's a slow death to a mind like Sherlock's, and he can't imagine what Watson sees in it. Even if Mary is charming, it just seems suffocating to Holmes. And as he practically crawls out of his skin during the meal, ready to get out of there --
-- it cuts to a boxing ring. In some basement club somewhere. It's the still that everyone's seen at this point. Shirtless Sherlock. And the guy he's with in the ring is probably a foot taller than him and another 60 pounds heavier. And Sherlock's sort of dancing around the guy, *****slapping him up a bit, making him look bad, and you can tell that it's a work-out for him. A chance to blow off some steam. But he's not going to really hurt the guy.
As Sherlock dances around, he scans the crowd. More out of habit than any particular interest. And he sees a face go by. The face of Irene Adler (Rachel McAdams). And if you know your Holmes, your Doyle, then you know that Irene Adler is the one. She's the one criminal who ever out-thunk him. The one woman who ever got past his defenses. She's the one who got away in all regards. Holmes may not be built for love, but he may be built for her. And the last time he saw her, she was in disguise and on her way out of town. So it's a shock. And it draws his concentration just long enough for the big guy to take all of that frustration, all of the little humiliations of being in the ring with Sherlock… and he puts it all behind one monster punch that knocks Sherlock to the ground. Sherlock knows he let that happen, so he stands up and smiles. "Thanks, Big Guy. I think that's enough for today." He turns to walk away.
And the Big Guy spits on the back of his head.
When Sherlock stops, he looks up into the camera, and everything freezes. "Let me tell you how this is going to go," he says. And what we see is a positively autistic break-down of the big guy's defenses, and what hits would do the exact damage needed to put him away, probably in the hospital. It's slow-motion. It's medical in how detailed it is. And as soon as it's done, we return to that frozen shot of Sherlock, the Big Guy standing behind him.
And he turns around and, in real time, does everything he just said he was going to do. Perfectly. And he destroys the Big Guy. It's just awful. Guy goes down hard. And Sherlock walks away. That's how he approaches a fight. That's how he approaches a mystery. That's how he approaches someone walking into the room. That's the world through the eyes of Sherlock Holmes, and I think Downey and Ritchie have come up with an idea that really captures the nature of how this guy thinks. How he processes things. That Sherlock-vision, that slowing-down and considering of details and options, is something that evidently will play into a few moments in the film, as he investigates crime scenes or deals with threats. I like it. It feels like a Guy Ritchie move, but a perfectly-deployed one.