Ripper: Letter From Hell Review

“From hell

Mr Lusk


I send you half the Kidne I took from one women prasarved it for you tother piece I fried and ate it was very nise I may send you the bloody knif that took it out if you only wate a whil longer

signed Catch me when you Can

Mishter Lusk”

The above is the sinister content of the famous ‘From Hell Letter’, sent to a George Lusk, who was head of the Whitechapel Vigilance Committee, a group who patrolled the night time streets of London’s Whitechapel during the hunt for perhaps the most famous serial killer of all time; Jack the Ripper. The authenticity of the letter has been debated for many years, but many believe it may be one the few genuine letters sent by the killer during 1888 when the impoverished of Whitechapel were gripped in a fevered panic. The name ‘Jack the Ripper’ actually originated in a different letter (the ‘Dear Boss’ letter), which is now believed to have been a fake, possibly written by a journalist in order to heighten interest in the case. Real or no, the name stuck, and over a century later, the identity of Jack has never officially been established. There are five ‘canonical’ Ripper victims – Mary Ann/Polly Nichols, Annie Chapman, Elizabeth Stride, Catherine Eddowes and Mary Jane Kelly, who all worked as prostitutes in Whitechapel. Despite surely having been invisible untouchables during their lifetimes, their names are now part of history. The case of Jack the Ripper has been retold and reinterpreted many times in books, television and film, often with a different theory as to who the killer was, and his reasons do doing what he did. The most recent of these was probably 2009’s schlocky, vaguely preposterous, but highly entertaining Whitechapel, made by ITV, in which modern day London’s Whitechapel district is once again besieged by fear due to a copycat Ripper killer. The film I looking at today, which also features a modern copycat Jack at its core, is no less schlocky, much more preposterous and highly Unentertaining. And as a real kicker it doesn’t feature the very handsome Rupert Penry Jones, who starred in Whitechapel. But despite this hardship, I shall struggle bravely on. Let us dive into Ripper: Letter From Hell. Contains, as always, Spoilers.


I’ll Save You Some Time. Watch The One On The Right. (But Not Before You Read My Entire, Sure To Be Hilarious, Review Of Ripper First, Obvs)

We start at what usually be the end of a horror film as a young woman runs screaming through some woods in torrential rain. She finds two of her friends, dead, and is now being stalked by the killer herself. The girl manages to escape the woods unscathed, dives into a nearby body of water to swim towards a boat in order to try and escape. She makes her way down into the boat’s cabin to look for the keys, but gets waylaid staring at a hanging cross necklace for about 3 hours. She finds the keys and another dead friend in the closet. She tries to start the boat, to no avail, she reaches into the water to do something to get the boat started (I’m not a boat person, can you tell?). Yet another nearly dead friend reaches out the water to grab for her. Startled, she jumps back and somehow starts the boat. (Make ‘nearly’ dead friend ‘definitely’ dead friend) A gloved hand coming up the ladder signals the arrival of the killer. She stabs him in the hand and he falls backwards into the water. The boat drifts off to sea, our heroine still aboard. The boat is called Mary Kelly, which is the first in a series of heroically uninspired Jack the Ripper references.

We cut to 5 years later, at one of those gorgeous old buildings that serve as a college that you only ever see in films. A lecture is underway about serial killers. The Professor, Kane, discusses Jack the Ripper, handily laying the ground work for any audience members that may be ignorant of the history of the case. He chats on about using modern techniques to solve old crimes, and puts a plug in for his book for good measure. The class chat about serial killers; it’s a literal field day for cod-psychology. The Boston Strangler and Ted Bundy get a mention. The class includes our survivor from the opening, now a vaguely gothy chick with a palatable sense of superiority. She freaks out her teacher by telling him he could never be a serial killer. Weird, because I’ve already decided he is the killer. Professor Kane decides to call her bluff – ‘What if I told you I was going to murder one of you today?’ he asks the class, pulling a knife from his bag. He stalks the class, saying that maybe his persona is a cover and he was always fascinated by serial killers because he secretly wanted to be one etc. Except, we hear this as a voiceover, the teacher doesn’t say any of it. Er, why? He selects the jock version of Noel Fielding as his pray, who gibbers on about being straight for a bit before Mr Kane suddenly slices the throat of another student, and chaos breaks out. But it was all a fake. Not dead student returns to his drama class, I guess none of the other students wondered why there was a random there that day. How they expect to catch serial killers with observation skills like that I’m not sure. ‘Think outside the box’ Mr Kane stresses to the class, like he was the first person to ever think of it. This mantra is repeated throughout the film, and the amount of importance they place on it you would think it actually meant something as opposed to being wanky business slogan lameness.

There Can Be Only One…Actually, Much Like Highlander, Ripper Also Got A Much Unneeded Sequel.

After class one of the students, Aaron, a smart but nervous guy who seems to be on some sort of autism spectrum, talks to survivor girl, Molly. They went to the same high school and he knows about her tragic past. She immediately goes on the defence, demanding him not to tell anyone, on pain of death. Although she’s clearly not a social creature, Not Noel Fielding (Aka Eddie) thinks he might be in with a chance though. And with lines like ‘gynaecology is my speciality’, I can see why. But Molly is soooo hard-core and alternative and wears black and has a dreadful tattoo around her upper arm and that. All of that is lazy film maker’s code for ‘takes no shit from no one’. She’s basically Faith from Buffy the Vampire Slayer, without any actual character to speak of. She sees Eddie and his advances off with some harsh words and a swift clutch of the testicles.

Wear All The Dog Tags You Want Love, You’re As About As Edgy As A Circle.

We met some more of the students as they gather for a study group. Eddie is there, as well as Marisa (the party girl, played by every lad’s favourite pin-up, Kelly Brook), Mary Anne (who’s blonde, that’s pretty much all we get from her), Andie (the sassy one), Chantal (French, and a chronic mumbler, her lines are hard to make out) and Jason (looks a bit like Edgar Wright). Molly turns up and is a total bitch to everyone for no reason. She doesn’t play the rules, not even her own, to paraphrase Family Guy. She almost freaks when she sees a lone figure in black outside who instantly disappears, but pulls it back into smug cow mode just as fast. She’ll only work with the group because it’s a requirement of the course, but she’ll only work alone. Seems to me the group could have just told her to fuck off there and then, mardy bitch. Molly lives alone in a run-down part of town. She gets a taxi home (with a firm called ‘Victorian’. Get it? Because Jack the Ripper operated in the Victorian times). She’s sprayed a mural on her wall and has a Misfits patch on her bag and she’s just so alternative and edgy I might start clawing my own face off.

The study group, including Molly, go to a Goth club to party. Jason tries to get Molly to open up about herself but she’s much more interested in continuing to be an annoying bitch. He surmises she likes to paint, and she’s watchful. He doesn’t ask her if its hard work hauling around entire chip shop on her shoulder all the time, but maybe he should have. While this is going on, Marisa has sex with someone in the bathroom.  Molly challenges Jason to apply his powers of deduction to Kane, their professor. He was the country’s leading profiler of serial killers but five years ago (Gasp! Five years! You mean when all the killing at the beginning of the film went down??) he quit to become a professor and write a best-selling book.

Marisa, upset about overhearing her friends talking about what a slut she is (just after she had sex with a stranger in the bathroom by the way), leaves for home. She gets stuck in the lift after it is tampered with by a mysterious black gloved hand. She manages to get out at the 13th floor and goes for a wander, finding nothing but cobwebs and her own deeply ingrained inability to act.  Convinced someone is following her she arms herself with a lead pipe and tries to find a way out. Gloved hand makes a grab for her and she runs back towards the lift, but she can’t get in. Scary laughter echoes throughout the place. The killer appears and stabs her. She manages to get away and is somehow above the club now? She tries to get the revellers attention through a hole in club’s ceiling but no luck. She gets her foot tangled in a chain and falls out a window. The killer pulls her back up and butchers her. Her blood falls through the hole in the ceiling and onto an unsuspecting dancer. The entire club watches in horror as Marisa’s mangled body is flung through the window onto the dance floor.

Ah, The Famous Hanging Up Side Down Ripper Victim.

The next day the group discuss the terrible event, and decide the best thing to do is to put their studying to good use and try and find the killer. Yeah, alright guys. My eyes are rolling so far back in my head I’m worried they might get stuck. Molly isn’t keen, but the rest of them decide to go for it, rationalising they can do things way better than the silly so-called experts; after all, they’re students. Molly sees the figure in black from earlier and confronts him. He’s detective Kelso, who worked on the murders she survived 5 years ago. He thinks it’s the same killer and tries to warn her. ‘He is back’ he rasps in a way that isn’t at all comforting. That night Molly goes back to the scene of Marisa’s murder, she just walks right on in, no police barricades, officers on duty or anything. There is writing on the wall in blood and as she studies it a figure appears behind her holding a knife, she spins round and its Kelso. ‘This knife was similar used to stab Marisa 39 times’ he says, before peeling an apple with it. Why the fuck would you carry a massive butcher knife around just to peel apples with it? The message was written with Marisa’s blood.  He knows her life story and is very creepy. He also looks like a cross between Tommy Lee Jones and Harvey Keitel. He thinks the killer is still out there, she storms off. She goes back to her depressing apartment and plans to leave town.

The next day one of the students, Mary-Anne, is heading home to see her mother after she was freaked out by Marisa’s death. As she drives a massive black car appears behind her, it tries to run her off the road and eventually forces her through a ‘road closed’ sign. She stops at the edge of a cliff and the black car rear ends her, sending her flying through the wind shield and over the cliff. She manages to grab hold of the cliff-face and tries to climb back up, screaming all the while. The killer somehow saves her from plunging to a rocky death, somehow manages to takes her to an isolated wood shack and slaughters her. The police somehow find her car, then the shack, then her body. Lot of ‘somehow’ going on there, not a single of one of them is explained.

And if you’re thinking ‘And what the merry hell has any of this got to do with Jack the Ripper?’ you are in for a treat of a scene (if you consider a treat to be a pretentious bunch of students showing off).  Kelso gathers the students at the college to tell them the bad news. He tells the group the killer will be someone known to them. Professor Kane discourages the students from investigating the case, but Jason challenges him, saying he’s washed up and left the FBI because he couldn’t hack it, and is just totes jealous of their youth and brains. Kane comes back with a charming story about a multiple rapist, which shuts them all up. He challenges them to profile the killer, they all name drop serial killers for a bit and say he’s trying to make a statement (which would be what exactly? ‘I’m fucking nuts and actually thought the Ripper Diaries were real’?).

Molly mentions Jack the Ripper. Kane asks her to elaborate. And she does, in grisly detail. She’s shows the group a police sketch of Marisa’s body, and compares it to one from 1888 of Martha Tabram, thought by some to by the Ripper’s first victim. Their wounds are virtually identical – strangled, throat cut from left to right, 39 stab wounds, focused on the breasts, stomach and genitals. Kane dismisses her theory as the Ripper victims were all prostitutes, killed privately as opposed to in public and done by a person with surgical training, all things missing from these new killings. Molly retorts that although the Ripper killed privately, it was always near busy streets, that although the police reported that the killer could have had surgical training, it could have also been a butcher or dock worker. Kane believes (and stated so in his book) that a man called Truett was the Ripper. Molly isn’t so sure. She mentions Joseph Barnett, Mary Kelly’s boyfriend, he was a dock worker and owned a set of knifes similar to those used on the Ripper victims. It doesn’t matter that the killer isn’t following Jack’s MO to the letter; the fact is that he thinks he’s following in Jack’s footsteps. ‘Didn’t you tell us to think outside the box?’ she smirks at Kane, fuelling my desire to punch her in the spleen. She gets a round of applause from her fellow students for being so insightful and brilliant, which Kane joins in on. What fucking ever like.

After the meeting, the study group gathers. Chantal doesn’t want to investigate the killings anymore, probably because the Ripper angle wasn’t her idea. Eddie is quick to join her. Jason rallies the troops with an inspirational speech about how the two victims were in their study group so maybe the killings weren’t random after all and they need to work together and all that shit. He’s got the authoritative air of wet celery, but they all fall in line anyway. Jason and Molly investigate Kane’s last case before he quit the FBI. In Denver, 10 young boys were sexually tortured and drowned. Kane was held hostage by the killer for 5 days, when he was released the killer was dead and after that Kane vanished. They find all this out because Molly is a super hacker and hacked the police files. Of course she did, she’s a fucking genius donchaknow? She and Jason almost kiss.

Kelso corners Kane is his car. When he was investigating the island killings where Molly’s friends lost their lives he went to Kane for help, but he refused, despite one of the victims being his neighbour’s child. Kelso goes off on a weird tangent about motives – the more twisted the better as far as he’s concerned. The ‘Joseph Barnett as the Ripper’ theory is too obvious for him. That’s all well and good, but isn’t it a fact that most rapes/murders are committed by someone known to the victim? If you’re a policeman you should deal with facts, not flights of fancy. He then asks, if Kane could murder someone and get away with it, wouldn’t he? The Ripper didn’t kill for the sake of killings, argues Kane. But he enjoyed it, he sent letters and left clues, retorts Kelso. An incoherent message was found at the site of Marisa’s death. They found a bonnet at the scene of Mary-Anne’s murder. The second Ripper victim, Polly Nichols, was wearing a new bonnet the night she died, Kane says. Well, he thinks it first, and then Kelso says ‘what?’ like he can psychically hear him, which is pretty odd. This Kelso guy is fucking weird, unless that was a really rubbish way of getting Kane to confess by confusing him into submission.

“Hey, Want To Overact The Shit Out Of This Film, Just For Fun?”

Back to the students. Chantal is warning Jason away from Molly, using spurious rumours about Molly and Kane shagging and the fact that she’s generally pretty weird. I would have pointed out that Molly is also an unbearable wench. Popular guy this Jason, as Chantal tries to kiss him as well. The gang decode the message left on the wall at Marisa’s death. ‘I ate her liver with some fava beans and a nice chianti…’ sorry, wrong film. It is in fact the notorious ‘From Hell’ letter, as quoted at the top of this review. They need to check if the wounds on Mary Anne’s body match those of Ripper victim Polly Nichols. Andie has the keys to the morgue and volunteers to check it out. ‘Let’s split up’ says Jason, with all the naivety of Fred from Scooby Doo. I guess he forgot his earlier speech about sticking together.  Left alone, Chantal apologises to Molly for being a bitch, surrendering Jason to her. Molly does not return the favour by apologising for being a massive bitch in her own right.

At the morgue, Andie checks out Mary-Anne’s body, comparing them to that of Polly Nichols. They are identical. Strange noises in the morgue freak her out. She investigates, sees a shadow and flees. The door out is locked. I think, we didn’t really see her try and open it. She goes back to the dead body room where the lights are flickering. The phone rings. She pleads to send help. The caller hangs up. You know love, phones work both ways. You could ring for help yourself. The walls are covered in bloody scrawlings – ‘what makes you think I’m outside the room?’ states one. Which was written when exactly? On the off chance she would say ‘there’s someone outside the room’ on the phone? As she leaves she is injected with a needle and falls unconscious. She drifts in and out, seeing apparitions of Marisa and Mary Anne dressed as 1880’s prostitutes. Nice going on bringing Kelly Brook’s acting back film makers by the way.

Kelly Brook Or Heather Graham In From Hell – It’s A Tough Call As To Who Is The Least Realistic 1880’s Prostitute.

The rest of the gang find Molly and inform her Andie has been murdered. Her throat was cut ear to ear, her guts ripped out and her intestines thrown over her shoulder, just like Annie Chapman (how handy all the characters have names derivative of Ripper victims). ‘He’s killing us one by one using the Ripper MO’ one of them bleats– fucking du’h. Chantal reveals that Aaron the nervous guy told her about Molly’s past, that she was the only survivor of the island killings. ‘Sound familiar?’ sneers Eddie. What a stupid line. Familiar to what? There were no survivors in the Ripper case and yes, she’s a survivor this time round too, but so are they all at this point. Jason shouts a bit about how she should have told them and there’s a connection between the two sets of murders and she put them all in danger. It’s sad she can’t trust anyone. Molly storms off – ‘I only rely on myself’ she yells, spouting Cliché Badass Loner Catchphrase Number Five. Chantal looks well chuffed at this development, and as the gang leaves, Kane just appears from behind a pillar randomly, unseen by the students.

Molly, to the background of a truly terrible nu-metal song that the early 2000s did so well, indulges in a montage of running, spray painting, destroying her apartment and sitting on a rock in the manner of Britney Spears in the Not Yet A Woman video (how very rock and or roll). As she’s crying in her apartment Kane comes and finds her, and they hug. Awkward. ‘I know’ he whispers – yeah, you implied in the last scene you knew about her past. Unless it’s meant to mean ‘I’m a survivor too’, but how would he know Molly knew that, unless he knows she hacked the police files? Oh who cares? She takes his shirt off and admires his scarred back. To another terrible song, they get it on. We are spared those particular gory details. Jason isn’t though, as he walks past and sees them.

“There There. It’ll Be Fine. You’ll Soon Be In Final Destination 2”.

The whole group, including the professor, gather at Kane’s handy isolated cabin that Kelso told them to go to. Yeah, cut yourselves off from help. Nice one. And the police told you this was a good idea did they? Jaysus. More theories abound. Most stupid being at it could be a descendent of the Ripper doing the killings. They also finally, fucking finally, stumble onto the fact that the victims share initials with the Ripper victims, meaning Eddie is next (Elizabeth Stride), then Chantal (Catherine Eddowes) then Kane/Molly (Mary Kelly). It’s all a bit Final Destination, working out the order of the victims. Jason, seemingly safe, reveals Jason is actually his middle name; his real name is Michael, tying him with Molly and Kane as last possible victim.

Eddie freaks out at this, accusing Jason of lying. They attempt to profile the Ripper; he is intelligent but socially inept. Like Aaron. Kane says he asked to assign the study groups – and why would Kane let him do this? And what would he have done if the initials hadn’t happened to match the Ripper victims? Just not bother? Molly reveals she went to school with him 5 years ago, before the tragedy that took her friends. He knew they were going to the island and asked to come. They said no, because he was, like, such a loser (Molly is very careful to say ‘they’ – passing the blame or what?). Aaron does fit the profile. Kane felt sorry for him and let him do odd jobs around the cabin, so he knows where they are. Kane tries to ring for help but the phone is dead. They have cars. Just pile in one and drive away. The storm outside isn’t that bad. Eddie and Jason leave to try and fix the phone lines or satellite or some stupid thing that means they have to be out the way for the next scene. Eddie feels safer with Jason as there’s only a one and three chance he will die. But you’re still next on the list Eddie, no matter what, so what difference does it make?  Chantal is a dick to Molly for no reason, telling her that she isn’t special and they’ve all got problems, Chantal’s parents are so neglectful and horrible to her (er, you win I guess?) and reclaims her stake on Jason. ‘He’s mine’ she spitefully intones.

Jason, Eddie and Chantal drive off, leaving Molly and Kane in the cabin. How nice of the next two victims to leave like that. The car breaks down. They boys fight like 12 year olds. Jason leaves to fix the dish, leaving Eddie and Chantal, the two Ripper victims who died on the same night by the way, in a car that has no locks. What kind of car doesn’t have any fucking locks for Christ’s sake? Eddie tries to fix the car.  As Chantal waits for Eddie she is grabbed from behind by the killer who bashes her head into the steering wheel, knocking her out. The killer starts the engine just as Eddie is reaching into it and his hand gets caught. As he screams for help Chantal comes to and obviously not hearing his screams or ignoring them maybe, drives off with Eddie still attached to the engine. That’s not very Jack The Rippery. Chantal drives into a tree and gets out, stunned. She sees Eddie and as she reaches out to him, she is struck by a mysterious assailant. She runs through the woods and finds herself at a castle, as you do. Kelso, who has just been hanging around the woods like a massive creepy bastard, finds Eddie’s body (as in Elizabeth Stride, the Ripper didn’t get to totally finish his work, due to being interrupted).

Chantal manages to turn on a wood saw by being deeply stupid and staggers up some stairs. She runs in Aaron (whose initials should really be RH, for Red Herring), who claims his innocence, but he does know who the killer is. She hits him and they both fall off the rickety walk way and into the body of wood saw. Aaron gets sawed up, jamming the machine and allowing Chantal escape. Or not, as she tries to make her way under the saw it starts again and she gets decapitated. Why didn’t she just climb out the opening left when they fell in in the first place? Bloody students.

Remember When Jack The Ripper Disposed Of His Victims Via Buzz Saw? Me Neither.

Back at the cabin, Molly shouts for Kane, who has disappeared it seems. Molly goes on his computer and looks up the results of the semen and blood tests carried out on Marisa and Mary Anne. The semen matches Kane, the blood Jason. Molly is shocked. I am not. She finds some blood stained rags and a cross similar to the ones from the first murders, that took place on the island. Jason appears at the door, she refuses to let him in, so he leaps through the glass, Hot Fuzz style. Molly, armed with a poker, tries and fails to find a way out. She creeps around, terrified, until Jason pops up and she whacks him with the poker. She’s going to feel pretty stupid when it turns out he isn’t the killer. Kane crops up and Molly flees the cabin. Kelso skulks around. Kane goes after Molly. Jason wakes up, grabs an axe and follows them. Molly scrambles around in the woods in the rain (déjà vu eh?). Jason creeps up on her and she hits him with the poker again. He tries to explain his innocence but she continues the poker offensive, then runs when he passes out. A mysterious someone picks up the axe and kills Jason. Interspersed with flashbacks of her former, non gothy self, Molly continues to run. She somehow winds up back where Jason’s body is. Kane leaning over him. He also denies being the killer. Spotting his shoes Molly remembers seeing those shoes at the club where Marisa died (guess they must be one of a kind shoes). Then Kelso appears and knocks out Kane, and takes his cross necklace, the last piece of evidence he needed to put Kane away for both sets of murders. As Kelso says it’s all over, Molly again flashbacks and it was her who killed all her friends. Ugh, fucking what?

No time to dwell, its five years later again. Kane is on Death Row, and is about to be executed, for the killings. We go back to his voiceover from the first lecture. As well as being the Ripper victims, the names of the dead also spell out ‘Teacher’ vertically. How fucking stupid is that? Molly now has a terrible black wig and we go once again to ‘think outside the box’, why is that wanky marketing spiel treated with such reverence in this film? Now she’s back in 1888? Jill The Ripper then? Oh no, she’s in a loony bin. Another terrible nu-metal song plays us out.

She Felt Confident About Her Chances In The Pulp Fiction Costume Competition.

Sigh. At the risk of repeating myself yet again, that the fuck was that ending about? Who was the killer? Kane, Kelso or Molly? If it was some tenuous link to the case of Jack the Ripper and the fact that he was never caught, and therefore they left the film open ended in order to mirror this, it really fell flat. Open ended endings per se I don’t have a problem with, but when it’s just a mess like this is it leaves the audience feeling cheated. And annoyed. Over complicating things like this doesn’t make you clever, no matter how many psycho-babble infused voice-overs you throw at the screen. The whole Jack the Ripper angle doesn’t work anyway. They basically abandon that after the first three murders (I’ve read a few books on Jack and nowhere is it mentioned he used a jeep, a buzzing sawmill of death and an axe). And as for the ridiculous notion that happening to have the same initials as Jack the Ripper’s victim’s marks you for death. Whoever the killer was, that it just stupid, not to mention highly improbable that one class of students would have a group of folk who just happened to have this very specific thing that the killer desired in his victims. And what was with the names spelling ‘Teacher’ at the end? That Kane was the killer and was confessing in this incredibly stupid way? That Molly did it frame him? Maybe it was Kelso (I’m actually a little shocked they didn’t go the whole Ripper hog and call him Abberline), he wore the black gloves of the killer, could have planted the cross necklace on Kane, plus he was clearly total loon who carried around a massive fuck off knife around with him in order to peel apples.

Never Mind The Box. Always Think Of An Ending To Your Fucking Film.

This is so easily marked as a post-Scream slasher movie. The film makers saw Scream, and then threw out all the elements that made that film so inventive and entertaining. Whereas in Scream horror films were the main reference point for the characters, here it’s serial killers. To me the whole film basically screamed (pun intended) Urban Legend, from the leafy college campus setting to the pretentious students who you hate on sight to the sinister college professor. Basically if Kelso had been a sassy black female security guard we would have had the full set. Molly, the character we should emphasise with the most due to her tragic past, is just deeply unsympathetic and unlikable. All the others are just non-entities, with the possible exceptions of the scenery chewing exploits of Kane and Kelso.

Jack the Ripper is an endlessly fascinating case. There are over 100 ‘official’ suspects, and it seems very unlikely the true solution will ever be known. Whereas Whitechapel, the television series mentioned at the beginning of this review, also had a slightly unsatisfying resolution, it none the less succeeded in all other fields; acting, script, direction, suspense, gore (if that’s your bag),character development, deep knowledge of the Ripper case and an actual ending, even if it wasn’t the greatest. If you want a modern spin on Jack the Ripper, I recommend you check out Whitechapel. If you want a classic spin, the excellent graphic novel From Hell. If you want an unsatisfying, clumsily made and boring spin on it, then Ripper: Letter From Hell, is for you.

Wow, think that was the longest review I’ve done so far (in my defence, the film was nearly 2 unfufilling hours long). If you made it all the way to the end, thank you kindly! As a reward,  here is my Twitter page, where you can follow me if you wish. And a picture of the rather handsome, previously mentioned Rupert Penry Jones.

You’re Welcome.


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