From Hell (2001)

From Hell is the kind of Victorian nightmare you can practically smell: gaslit streets, damp brick, and a London that feels lived-in rather than dressed-up, rendered with the Hughes brothers’ gorgeously grim production design. It’s a mystery-thriller that leans into mood as much as clues, with Johnny Depp’s weary, opium-fogged inspector drifting through the case like a man haunted by more than the headlines, while a terrific British supporting cast gives the whole world weight and bite. The film’s real seduction is its literate, conspiratorial spin on the Ripper legend—less a tidy whodunit than a plunge into class, power, and paranoia—always keeping you unsettled and curious. Fair warning: it’s brutally graphic and unflinching about its subject matter, but if you can handle the gore, you’ll find an atmospheric, absorbing descent into darkness that’s hard to shake.

From Hell is clearly trying to turn the Jack the Ripper myth into a moody, conspiratorial Gothic detective story, with Johnny Depp’s damaged inspector drifting through opium haze and Victorian grime. The problem is it often feels more like a handsomely dressed procedural than a gripping thriller, leaning on familiar shock beats, a forced romantic angle, and plotting that can come off clunky rather than clever. It’s also very graphic, with lingering violence and exploitation-adjacent atmosphere that can feel more punishing than suspenseful if you’re not in the mood for bleak brutality. If you want a stylish period mystery with strong production design and a reliably creepy vibe, it’s serviceable; if you’re hoping for a genuinely scary, tightly written Ripper film, this may test your patience.