Ripper 2001: A Letter From Hell…
Ripper: A Letter From Hell 2001
Directed by: John Eyres
Starring: A.J. Cook, Bruce Payne, Kelly Brook
Review by Luis Joaquín González
Being that I host a SLASH above, it’s fair to say that I’ve watched my share of films that definitely weren’t the best. A few of those though included enough for me to see that certain crew members had the talent for another shot at stardom. Whether it be a smart line of dialogue or a smoothly edited set-piece, a bad film doesn’t always mean that everyone involved is part of the bad-ness. There are a million things that can go wrong during a movie shoot and sometimes a person’s true ability can be concealed through no fault of their own.
John Eyres was responsible for 1987’s woeful killer priest slasher, Goodnight Godbless, and I have to say that seeing his name here didn’t fill me with confidence. I certainly don’t recall anything from that picture that made me think that Eyres’ skill was restrained by the mediocre budget. Still, I’m one of those that believes everyone deserves a second chance and so I’ve finally got round to checking out his follow-up, Ripper: A Letter From Hell.
A girl with a slight attitude problem decides to study criminology under an eccentric professor. She doesn’t get along too well with her classmates, but they become close after a vicious maniac begins to target the group and brutally murder them one by one. They soon discover that they share their initials with the victims of Jack the Ripper and it looks like he could be back from beyond the grave…
At just under two-hours, if Ripper had been of similar quality to its elder brother Godbless, we would have been in for a tiresome exercise in visual punishment. Thankfully, during the fourteen-year gap between those two entries, Eyres has learned a lot about the art of slick direction. In fact, the film launched with such an impressive amount of panache that I was left wondering if this was really the same guy. It shows us the conclusion of a set of killings that occurred sometime earlier in a dense forest. We get flashy cuts and intense camera tricks that build neat tension, even though we don’t know yet who or what we are witnessing. After a couple more fast-paced shocks, we learn that this was a unique way of introducing Molly, our central character. It seems that she was the lone survivor of the aforementioned massacre and she’s now relocated to restart her life and enrolled in a new university.
The next few parts that develop the players (and likely suspects) who will carry us through the runtime are amongst my favourite of the picture. They contain intelligent discussions on the characteristics of serial killers and are shot with intriguing movement that delivers a subtle underscoring of energy to the talk scenes. It’s nice to see that the writers have researched their subject-matter and also they’ve included an authentic slant on one of Scream’s major gimmicks. Whilst Kevin Williamson’s screenplay name-checked the likes of Tom Cruise and Richard Gere, here we get Ted Bundy, Albert DeSalvo and of course Jack the Ripper. The fact that Eyres has privately investigated the Jack the Ripper case for most of his adult life made him the perfect choice for this project. It’s easy to see that he felt he had a score to settle with the slasher genre.
Whilst Godbless owed a lot to John Carpenter’s Halloween, here it seems that Eyres has followed the path taken by Jamie Blanks’ Urban Legend. There are a lot of similarities in the way both films are staged, which I mean as a genuine compliment. The kill scenes are delivered with style and they create some memorable images, like when a freshly murdered corpse pours blood on to a girl’s white dress as she dances below. Another youngster gets rammed off a cliff by a truck that brought to mind the one used in Mirage, and whilst these murders may not be overtly gory, they are powerful due to their brutality. By the time the conclusion comes around, we end up in a tree-chopping factory (?) that really needed a visit from a health & safety expert in a hi-viz jacket. If it doesnt bother the authorities that there are deadly blades that spin around 24/7, perhaps the fact that it’s left totally unguarded will. This leads to a couple of taut chase sequences and a revelation that is highly ambiguous. This was apparently down to Eyres not havin enough budget left to deliver what he had initially intended. I am guessing that might also explain why such a smart story suddenly becomes disjointed in the final ten-minutes.
The cast do a good enough job of keeping things moving without really delivering any sympathetic characters. Ripper is a film that believes in its dialogue and compelling mystery, so the focus is taken off individuals and centred more around the overall plot. We are treated to some truly beautiful actresses and kudos to Eyres for killing off the worst performers quickly. Brit glamour girl Kelly Brook is the first to go and despite her highly unconvincing pleas for mercy, she takes part in one of the greatest stalk and slash murders of the entire cycle. You should watch the film if only for that one sequence.
John Eyres’ website completely ignores Goodnight Goodbless and doesn’t even list it as one of his features. In fact, it goes as far as to say that his filmmaking career began in 1990, which is three-years after that film was released. Whilst it’s unlikely that another British ‘John Eyres’ was responsible for Godbless, the fact that he wants to erase it from his filmography speaks a thousand words. I’m not sure whether that was really necessary, but either way, he had certainly upped his game by the time Ripper went in to production. It’s a tense and engrossing entry that really does impress. In fact I’m fairly surprised that it isn’t more fondly thought of amongst genre connoisseurs.
I guess the only question we are left with is what Eyres was doing that was so important he turned down the sequel…?
Killer Guise: √
Final Girl: √√