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I'd say From Hell is watchable and worth seeing at matinee prices for anyone interested, but it doesn't come anywhere close to that next level of filmmaking, where average or good films start turning into great ones.
From Hell is directed by The Hughes Brothers, who's previous credits are Menace II Society, Dead Presidents, and American Pimp. Since Albert and Allen Hughes are young and African-American, I was hoping for a fresh perspective on the infamous Jack the Ripper murders.
Knowing From Hell is also an adaptation of Alan Moore's graphic novel, that added another level of expectation for me. Moore's The Watchmen and V for Vendetta are masterpieces, and I had enjoyed From Hell too.
But the resulting movie isn't terribly special. It has some good visuals and the convoluted Ripper conspiracy theory is in tact, but the pacing and character development are off the mark. The sets feel like sets, though not as much CGI and stylization as say Baz Luhrman's recent Moulin Rouge. Still, I never got drawn into the otherworldly aspect they were aiming for.
I've always liked Johnny Depp, and he's solid, despite never quite mastering the accent in a totally convincing manner. I expected him (and the directors) to draw out more of Inspector Abberline's darkness. They also could have had more fun with his Opium-fueled states instead of relying on fairly standard montages, the type you can find in most any Smashing Pumpinks music video.
I can't help but wonder what a clever visualist with a grasp of dark, moody narratives like David Fincher, Darren Aronofsky or even Tim Burton might have done with this material and budget. I do know that The Hughes Bros. never put a stamp on it to make it truly amazing in any respects. There's a slickness and a graphic style to From Hell different from all previous film incarnations of the Ripper story, no doubt, but it isn't enough to make the story feel new or more compelling.
Robbie Coltrane, as Depp's police cohort, steals just about every scene he's in and is easily the most amusing character. But the Streetwalker victims, led by Heather Graham (who is woefully miscast) are very sketchy and not at all worth caring about one way or the other. The various Gentlemen 'suspects' - From Hell is constructed as a mystery, so we only discover Jack's identity near the finale - are all types rather than characters. Ian Holm is good (when isn't he?), I just wish there was more for him to do here. There's even an unnecessary historical cameo by John Merrick (aka The Elephant Man), as if Depp's Inspector were Forrest Gump or Zelig for a moment.
The romance angle feels tacked-on and underdeveloped, another weakness in the narrative and Depp's character motivation. There is no real suspense to speak of, especially if you are familiar with the various popular theories of who Jack the Ripper was. Most importantly, since there is little emotional involvement, there can be little pay-off as it all wraps up (and too neatly).
But it does move forward well enough and didn't feel overlong to me. This version of The Ripper is OK eye candy at a weekend matinee, yet very much misses what it might have been. It is mild entertainment, and nothing more. Too bad.
Grade: C
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"Film is a disease. When it infects your bloodstream it takes over as the number one hormone. It bosses the enzymes, directs the pineal gland, plays Iago to your psyche. As with heroin, the antidote to Film is more Film." - Frank Capra
Last edited by Holden Pike; 02-14-02 at 03:50 PM.