
The Limehouse Golem movie review: riffing on the Ripper
Lush sensationalism and Dickensian social justice collide in 1880s London, and if there isn’t quite enough of either, it’s still a slice of satisfying gothic horror.

Lush sensationalism and Dickensian social justice collide in 1880s London, and if there isn’t quite enough of either, it’s still a slice of satisfying gothic horror.

Tense, gripping, enraging, but only about things that black Americans already know. This is a primer about racism for white people, and we must pay attention.

Moody, atmospheric, even beautiful in its grimness; a medieval adventure unlike any we’ve seen before, with a sharp attention to psychological and moral realism.

Cheesy Euro ballerina-porn cartoon is full of dated animation, cringeworthy attempts at humor, bizarre anachronisms, and a terrible message for little kids.

The living, breathing, bleeding life of the breathtaking fight scenes cannot overcome confusingly twisty spy intrigue and multiple male gazes on the story.

All familiar funhouse spooks telegraphed a mile out, with no spiritual or psychological weight, but with some very young girls terrorized for your entertainment.

A charming delight in a retro timeslip. Gillian Robespierre and Jenny Slate continue their rampage of creating wonderfully, memorably flawed women onscreen.

Lurid, pointless thriller teases us with a teenaged girl’s sexual and mortal peril, creating awful suspense around her abuse. Her terror is your titillation.

Primal and exhilarating, full of dread and tension. Drops us right into the chaos of war to tell an intimate story about fear and intensity of purpose.

If Jane Austen wrote a horror movie. An almost serene sinisterness infuses female-gazey carnal intrigue… but it could be even more feminist than it is.