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From Hell (2001)
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Reviews Counted:31
Fresh:16
Rotten:15
Average Rating:5.3/10
Consensus: Visually impressive, but this latest Ripper tale is dull and far from scary.
Rated: R [See Full Rating] for strong violence/gore, sexuality, language and drug content
Runtime: 2 hrs 2 mins
Genre: Horror/Suspense
Theatrical Release:Oct 19, 2001 Wide
Box Office: $30,692,411
Synopsis: FROM HELL is a gory detective film cloaked in Victorian-era mystique. The movie shows how the serial killer Jack the Ripper stalked the dark streets of 1888 London, slaying prostitutes and crudely... FROM HELL is a gory detective film cloaked in Victorian-era mystique. The movie shows how the serial killer Jack the Ripper stalked the dark streets of 1888 London, slaying prostitutes and crudely dissecting their bodies. Based on the graphic novel written by Alan Moore and Eddie Campbell, this moody chiller is directed by twin brothers Albert and Allen Hughes (MENACE II SOCIETY, AMERICAN PIMP). Johnny Depp stars as Inspector Frederick Abberline, who smokes heavy doses of opium and drowns himself in absinthe to evoke hallucinatory visions that are his clues to catching the Ripper. Heather Graham costars as the prettiest of the floozies, who wins the muted affections of the Inspector. With plenty of atmosphere and spooky effects, FROM HELL borrows scenery, filming tricks, and sequence construction from a host of popular movies, resulting in a visually interesting--if inconsistent--style. Haunting nighttime shots of the London skyline (actually Prague) bleed into shadowy Tim Burton-like prowls through the damp cobblestone streets; aerial camerawork contrasts with crowded ground-level focuses; and the camera peeks around corners and into foggy windows with stealthy curiosity. What may stand out most in viewers minds after the carnage is through, is the exaggerated use of surround sound, which brings a dreadful sense of reality to the film's gore, making FROM HELL all the juicier. [More]
Starring: Johnny Depp, Heather Graham, Ian Holm, Robbie Coltrane
Starring: Johnny Depp, Heather Graham, Ian Holm, Robbie Coltrane, Jason Flemyng, Lesley Sharp, Susan Lynch, Terence Harvey, Katrin Cartlidge, Paul Rhys, Ian Richardson
Director: Allen Hughes, Albert Hughes
Director: Allen Hughes, Albert Hughes
Screenwriter: Terry Hayes, Rafael Yglesias
Producer: Don Murphy, Jane Hamsher
Composer: Trevor Jones
Studio: 20th Century Fox
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Reviews for From Hell
This wry, atmospheric procedural spawned by a real mystery would be thorny enough without also being an adaptation.
The Hughes boys blow it by burying a fine cast ... in stock scares, sappy romance and cliches that really are from hell.
The only thrill, if you can call it that, is waiting to see who gets sliced up next.
It has the lush decrepitude of an autumn compost heap or an old Hammer werewolf flick.
The gaudiness of From Hell might make the film effective for some viewers, on its own cheap terms. But the movie is a disastrous example of filmmakers whose reductive sensibility is not up to the density of the work they've undertaken.
Johnny Depp, who continues to be our most adventurous anti-Hollywood movie star, is thoroughly convincing, Cockney accent and all.
In Menace and Presidents there was an additional level of involving social criticism that gave us a reason to endure the mayhem. Here, the film is considerably more off-putting than what it gives back.
A loud and overbearing two-hour wallow in depravity that I could have done without.
For all its strained attempts at sensationalism, From Hell comes across as little more than a slasher flick in Masterpiece Theatre costumes.
Its explanation is ultimately improbable, and it makes the Masonic order look like the occult cult in Eyes Wide Shut. But it's engrossing while you watch it.
An occasionally awkward mix of art film and slasher flick, From Hell manages to make its luridness intelligent enough -- and its intelligence lurid enough -- to send you home satisfied.
Rather than a cohesive film, it feels like a series of vignettes -- little 'movie moments' put there for your viewing pleasure.
The movie feels dark, clammy and exhilarating -- it's like belonging to a secret club where you can have a lot of fun but might get into trouble.
It's one thing for Graham to drive Austin Powers nuts, but it's quite another to ask her to carry this grand guignol.
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