Film & TV

Film Review: Last Night in Soho

Anya Taylor-Joy stars as the aspiring fashion designer who is able to enter her fantasy of 60s London

With a toe-tapping 1960s inspired soundtrack, matching striking visual style, Last Night in Soho feels original and further cements Edgar Wright as one of the most talented craftsmen working in cinema today.

Eloise, an aspiring fashion designer is mysteriously able to enter the 1960s, where she encounters a dazzling wannabe singer. However, the glamour is not all it appears to be, and the dreams of the past start to crack and splinter into something far darker.

With an already esteemed career, Edgar Wright’s sixth film as director comes with significant anticipation. Last Night in Soho is the biggest departure tonally from his previous films, while still managing to retain his unique signature style. Though his previous films have all shared a comedic edge, this is a psychological thriller, using the genre to explore the dangers of being overly nostalgic about previous decades. Wright proves with this film that he is a versatile storyteller who possesses a mastery of his craft that allows him to tell stories through striking visuals in ways that very few directors currently working can.

The script, co-written by Wright and Krysty Wilson-Cairns is tight, with the usual attention to detail expected from a Wright film. What the script does well is create a genuine sense of mystery and intrigue that feels original. The mystery unfolds to the audience as it does to Eloise, which creates a strong sense of tension and brings some frightening moments. It’s got strong horror elements, but is still accessible and enjoyable to people who are usually put off by horror.

It has somewhat of a slower start than other Edgar Wright films, using the time to establish the universe before jumping into the story. However, the wait is worth it during the first sequence when Eloise travels back to the 1960s, which is one of the most visually stunning sequences I’ve seen in a long time. This extended sequence has some incredible lighting, camera work, editing, as well as practical effects that left me absolutely bewildered wondering how it’s possible to achieve this without editing.

The cinematography by Chung-hoon Chung is striking, especially in the scenes in the 60s. The present-day scenes have a deliberately realistic visual aesthetic that looks flatter compared to the vibrancy when Eloise enters the 60s. Wright uses Chung’s cinematography to emphasise and enhance the mysterious journey that Eloise follows from vibrant infatuation with the past to the more confrontational realities.

There are some strong performances all round in the cast. Thomasin McKenzie carries the film well, rarely leaving the screen. The standout performance is Anya Taylor-Joy with a versatile performance as Sandie, that also allows her to show off her singing chops too. Matt Smith and Terence Stamp both have strong turns too, as well as Diana Rigg in her final film role.

All the components come together for an engaging and tense film, allowing for visual storytelling from a master filmmaker. Wright has assembled a top team to bring this film to life, making Last Night in Soho feel like an original and unique horror.

Reviewed by Kyle Dolan

Vibrant 4 stars

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