The Telegraph

The Limehouse Golem may be hokum, but it’s glorious hokum that brings something fresh to the stale old cadaver of Victorian melodrama.

The Guardian by Jordan Hoffman

There are a lot of twists and turns in the plot, but not all of them are satisfying. What does work are the performances, specifically Cooke and the richly sympathetic character she creates.

The Guardian by Peter Bradshaw

It’s an entertainingly bizarre, lurid nightmare with a playfully literary flavour, very Ackroydian, but with hints of Angela Carter and a bit of William Blake.

Total Film by Josh Winning

Weird, twisted and deliciously unique, Medina’s horror taps a dynamic vein in feminism and Giallo-esque gore.

Time Out London by Trevor Johnston

Nighy gives another suave masterclass, and the whole thing positively burns with passionate advocacy for the artists, free-thinkers and social outsiders who’ve been the making of modern London.

The Telegraph by Patrick Smith

The Limehouse Golem may be hokum, but it’s glorious hokum that brings something fresh to the stale old cadaver of Victorian melodrama.

The Film Stage by Jared Mobarak

The script carries us through without much effort, its expertly paced discoveries keeping us enthralled.

The Globe and Mail (Toronto) by Nathalie Atkinson

It doesn't quite succeed, in spite of a playful, self-consciously unreliable narrative that mixes flashbacks and fantasy solutions to the case.

Chicago Sun-Times by Richard Roeper

Nighy leaves behind his trick box of winks and sly smiles and sarcasm for a relatively straightforward performance, and wisely so. As outlandish as the material can get in The Limehouse Golem, this is serious stuff.

ReelViews by James Berardinelli

An atmospheric period-piece murder mystery, The Limehouse Golem combines elements of Sherlock Holmes and Jack the Ripper into a Victorian-era gothic stew that, although perhaps not as ultimately satisfying as it might have been, nevertheless provides for an unsettling two hours.

The New York Times by Jeannette Catsoulis

Marrying fact and fiction, Jane Goldman’s seamy screenplay is wildly overstuffed; but the director, Juan Carlos Medina, gives the music hall scenes a rowdy authenticity.

Movie Nation by Roger Moore

"Limehouse” is more a fascinating world to be immersed in than a dazzling telling of a morbid tale.

Los Angeles Times by Michael Rechtshaffen

A perfectly watchable if overtly theatrical whodunit.

Screen Daily by Fionnuala Halligan

Director Juan Carlos Medina (Insensible/Painless) fails to muster Golem’s many moving parts, and tension leaks from the film like the blood from one of its many savaged corpses.

Screen International by Fionnuala Halligan

Director Juan Carlos Medina (Insensible/Painless) fails to muster Golem’s many moving parts, and tension leaks from the film like the blood from one of its many savaged corpses.

The New Yorker by Anthony Lane

It feels at once crammed and sketchy, riddled with flashbacks and framing devices, and woefully light on frights.

Slant Magazine by Chuck Bowen

Initially colorful, the script’s lurid and overripe dialogue eventually grinds the film to a halt.

Empire by Jonathan Pile

A great cast is let down by a script that fails to provide a compelling mystery to solve. Never mind as a big-screen production, this would be disappointing as a BBC mini-series.