A series of murders has shaken the community to the point where people believe that only a legendary creature from dark times – the mythical so-called Golem – must be responsible.

Limehouse is an area in London that could be considered England’s answer to the Moulin Rouge. Amongst the seedy collection of opium dens, theatres, and brothels the so-called Limehouse Golem is disemboweling patrons, performers, and more in this opulent whodunit. It is up to Inspector Kildare (Bill Nighy) to solve the delightfully gory crimes before he claims his (or her) next victim.

Based on the novel by the British author and historian Peter Ackroyd, Golem begins with the disgraced Kildare being assigned the case by Scotland Yard. It is a nearly unsolvable crime in a pit of vipers and he is an easy one to take the blame for another unsolved mystery. Meanwhile, upper-middle class Lizzie Cree (Olivia Cooke) is on trial for poisoning her suspicious husband. Kildare draws a connection between the two cases and digs to learn if Lizzie knew more than she is leading on about her now-dead spouse.

Portions of the story are told through the recollections Lizzie delivers Kildare from prison, while other stretches are visualizations of his theories on who is committing the murders. Director Juan Carlos Medina plays a devilish trick in depicting the crimes by enacting them with multiple characters and synthesized voices. We see Hammer-like murder scenes play out, with plenty of blood and guts, yet have no clue who is slicing and dicing. Nice trick.

The cast is remarkable with Nighy picking up the role following the untimely death of the legendary Alan Rickman. Nighy delivers a nimble, studious, yet compassionate take on the inspector with something to prove. Douglas Booth is also a joy to watch as theatre proprietor and performer Dan Leno. Strutting and performing on the boards in drag, caked in make-up, playing to the intoxicated crowds in thick smoke Booth is a delicious performer to watch. Too, Cooke’s Lizzie is a conundrum of motives and secrets that propels the story through the paces and gives us reason to stay committed to the story.

The production values are uniformly beautiful with deeply textured cinematography from Simon Dennis and rich production design from Grant Montgomery , Art Direction from Frederic Evard and Nick Wilkinson and Set Decoration by Pilar Foy.

This is only Medina’s second film and we are sitting up and taking notice. To attempt to tackle a story as complex in execution as this is brave. Where will this guy take us next?