Before torture porn, before slashers, before Giallo there was a genre of horror that terrified audiences across the world. That genre was the Penny Dreadful and came at a time when the real horror was alive in the form of back alley killers and rodents. A time that bought London to the top of the podium of horror. The time bought with it the likes of Sweeney Todd, The Monk and Jack the Ripper some real, others fictitious but all terrified the lives of those in touch.

 

Overtime the genre has had a decline often rearing its head occasionally in film with such classics as FROM HELL and Tim Burton’s musical feast SWEENEY TODD and now comes THE LIMEHOUSE GOLEM, a film that not only falls into the company of such classics but one that blends the era of reality and fictitious terror.

 

Dan Leno (Douglas Booth) is a Russel Brand-esque host of a grotesque theatre that entertains the underground with tales of terror and low brow comedy. When Lizzie Cree (Olivia Cooke) joins his troupe in a time when a legendary creature is suspected to roam the streets, jealously, death and intrigue soon follow and when Cree’s husband becomes the latest murder victim, the connections between the Golem and the troupe begin to blur.

 

THE LIMEHOUSE GOLEM is cleverly crafted and reminds us so of a time when horror was based in a grounded reality. The charm is that while the events surrounding Leno’s fantastically charged theatre are horrific, the troupe are still able to bask in humour and good charm. This hybrid of light hearted drama and chilling horror make THE LIMEHOUSE GOLEM a unique experience and all of the films suspects heartbreakingly possible. As the police detective leading the investigation comes to the realisations of the culprit (perfectly cast to Bill Nighy) anyone is feasible.

 

Fortunately all of the melodrama is brilliantly bolstered by great perfomances from Cooke, Booth, Nighy and Sam Reid. Juan Carlos Medina brings a dakness to the film that is shared by the lense. Each frame feeling like a real representation of the era and being only his second feature length effort, does well to maintain a strong resume.

 

At its core, this is a detective thriller but one in a time when horror and crime came hand in hand yet with its blood thirsty crimes and mystery makes a perfect escape to the real world of horrors that affect us today.