A killer known as Ghostface begins killing off teenagers, and as the body count begins rising, one girl and her friends find themselves contemplating the "Rules" of horror films as they find themselves living in a real-life one.
With a dead body lying between them, two men wake up in the secure lair of a serial killer who's been nicknamed "Jigsaw". The men must follow various rules and objectives if they wish to survive and win the deadly game set for them.
Stallone plays a cop who comes undone after witnessing a brutal scene on the job. He checks into a rehab clinic that specializes in treating law enforcement officials. Soon, he finds that ... See full summary »
Charles S. Dutton,
Tom returns to his hometown on the tenth anniversary of the Valentine's night massacre that claimed the lives of 22 people. Instead of a homecoming, however, Tom finds himself suspected of committing the murders, and it seems like his old flame is the only one will believes he's innocent.
A musician witnesses the murder of a famous psychic, and then teams up with a fiesty reporter to find the killer while evading attempts on their lives by the unseen killer bent on keeping a dark secret buried.
As a deadly battle rages over Jigsaw's brutal legacy, a group of Jigsaw survivors gathers to seek the support of self-help guru and fellow survivor Bobby Dagen, a man whose own dark secrets unleash a new wave of terror.
Parisian murder detective commissioner Pierre Niemans is called to Gueron, a self-sufficient, prestigious university in a mountain valley, to investigate the murder on 32-year old professor... See full summary »
A boat has been destroyed, criminals are dead, and the key to this mystery lies with the only survivor and his twisted, convoluted story beginning with five career crooks in a seemingly random police lineup.
It is 1888 in London, and the unfortunate poor lead horrifying lives in the city's deadliest slum, Whitechapel. Harassed by gangs and forced to walk the streets for a living, Mary Kelly and her small group of companions trudge on through this daily misery, their only consolation being that things can't get any worse. Yet things somehow do when their friend Ann is kidnapped and they are drawn into a conspiracy with links higher up than they could possibly imagine. The kidnapping is soon followed by the gruesome murder of another woman, Polly, and it becomes apparent that they are being hunted down, one by one. Sinister even by Whitechapel standards, the murder grabs the attention of Inspector Fred Abberline, a brilliant yet troubled man whose police work is often aided by his psychic abilities. Abberline becomes deeply involved with the case, which takes on personal meaning to him when he and Mary begin to fall in love. But as he gets closer to the truth Whitechapel becomes more and ... Written by
The late Nigel Hawthorne was originally cast as Sir William Gull. Hawthorne was replaced by Ian Holm when his cancer prevented him from working. See more »
William Gull says that he is the Royal Family's physician-in-ordinary. In fact, Gull was the Royal Family's physician-in-extraordinary (the original comic book got this right). See more »
Sergeant? It's night.
Your observations are correct. It is indeed night.
[turns to two constables]
And gentlemen, unless you wish to be free of the confines of your duties, this never happened.
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The critics, nit-pickers and historical pedants who've trashed this superb piece of truly cinematic movie-making have totally missed the point.
So what if Johnny Depp's English accent isn't exactly "right" for his character? (English accents have always been problematic for all but the most skilled of American actors: Depp pulls it off entirely passably, way way better than - say - Keanu Reeves, risible in Coppola's Dracula. Think of Kevin Costner, who didn't even bother trying in Robin Hood Prince of Thieves.) I'm a Londoner by birth, and for me the accent in no way detracted from Depp's excellent performance.
As for history, again, who cares if the filmmakers have employed a degree of dramatic licence? This is a movie, not a documentary. Nobody knows for sure who Jack the Ripper was, and in order to make the film interesting and enjoyable the writers have speculated a little. Fine by me.
OK, so Heather Graham was impossibly glamorous, but movies with big budgets need a little bit of star appeal. The notion of the "tart with a heart" is a cliché, sure, but nevertheless her character works in the context of the film. (Contrast the depiction of prostitution generally in this film with the utter garbage that is Pretty Woman.)
What's so great about this film? The quirky, literate script; the performances (all, with the possible exception of Graham, excellent); the wonderful photography and production design; the depiction of the murders themselves - elliptical, shocking, mesmerising; and above all the aura of brooding menace, gloom, cruelty, darkness, melancholy and downright despair running through it as deeply as the veins through a block of marble. This is marvellously thoughtful, evocative film-making, very bold and brave. No happy Hollywood ending, no phoney saccharine or cheap laughs to satisfy the popcorn brigade. This is a proper grown-ups movie that probes some of the darkest regions of the human psyche, places mainstream filmmakers like Lucas, Spielberg, James Cameron and their ilk don't dare to go, or couldn't go even if they wanted to. To me it appeals almost on a subconscious level, forcing us to confront our deepest fears and taboos - death, pain, suffering, human wickedness. I can't think of a recent major release that is so relentlessly downbeat.
Don't let the detractors put you off. It's hardly surprising a generation weened on MTV - folk with the the attention span of a gnat and the emotional depth of a paper cup - didn't like it. They've got their Screams and their Scary Movies, and they're welcome to them. This is super stuff, and the Hughes brothers and their collaborators should be heartily congratulated for it.
A classic, not so much for the plot, which is a little contrived, but for its sure command of cinema as a visual storytelling medium.
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