LAST NIGHT IN SOHO REVIEW

 *MAY CONTAIN SPOILERS*

Edgar Wright is better known for his comedies, including the Cornetto Trilogy which featured the films, Shaun of the Dead, Hot Fuzz and The World’s End, and starred Simon Pegg and Nick Frost. However, with his latest film, Last Night In Soho, Wright has created a twisted and riveting thriller.

For sweet-natured, 1960s-obsessed Eloise (Thomasin McKenzie), dreams really do come true when she gets accepted into fashion school in the bustling heart of London’s West End. But big city life proves a rude awakening for this small-town girl, and when her rowdy student halls become too much for her to take, she rents a room in the attic of the matriarchal Miss Collins (Diana Rigg, in her final film role). That night, in her new bed, Eloise finds herself inexplicably transported back to 1966 and into the body of an ambitious young singer named Sandy (Anya Taylor-Joy). But just as she starts to get used to her nocturnal time travels, Eloise slowly begins to uncover the terrifying reality of swinging 60s London.

Those expecting Last Night In Soho to be a comedic take on the horror genre like Shaun of the Dead will probably be disappointed as the former is more serious and, at times, is genuinely scary, making it a perfect film to watch during Halloween. 

Since its premiere at the Venice Film Festival in September, Last Night In Soho has divided critics Wright’s “stylish and ambitious” filmmaking skills but said that the film struggled to maintain its thrilling early momentum. Because of this, I lowered my expectations, however, I was pleasantly surprised by Last Night In Soho. While I agree that the story is complicated, I found it to be a gripping thriller for the majority of its 116 minute runtime, with McKenzie and Taylor-Joy impressing in their roles as Eloise and Sandy. Last Night In Soho is undoubtedly Wright’s most visually stunning film and is filled with bright and vibrant cinematography by Chung-hoon Chung. This is clearly a film made to be watched on the big screen and Wright’s love for cinema and for the era of the 1960s are clearly explored.

An issue with Wright’s films is his treatment of female characters, with all of his main characters being portrayed by male actors. Most of the women in his films are love interests for the male main characters, including Kate Ashfield’s Liz in Shaun of the Dead, Rosamund Pike in The World’s End and Lily James’ Deborah in Baby Driver, are examples of this. However, with Last Night In Soho, Wright has made his first film with two female main characters, Eloise and Sandy, who are both interesting individuals and brought to life through the captivating performances by McKenzie and Taylor-Joy. The former portrays Eloise as an ambitious fashion designer who is has a secret sixth sense. However, she comes to London wanting a fresh start but is startled to discover the real horrors that lurk within the capital city, including a creepy taxi driver and a group of mean girls who are studying at the same university as Eloise who shortly leaves campus and moves into an old house owned by a seemingly sweet old woman, Miss Collins. However, on her first night, Eloise finds herself transported to Soho in the 1960s through the body of an aspiring singer, Sandy. Taylor-Joy shines as Sandy, a stand out scene sees her singing Petula Clark’s Downtown. Another impressive performance is delivered by Matt Smith as Jack who is charming at first and promises to help Sandy in her singing career, however, it doesn’t take long for the charm to fade and for the darker side of his personality to come through. In her final film role, the late Dame Diana Rigg delivers an unforgettable performance as Miss Collins. 

Last Night In Soho is Wright’s most divisive film yet as there will be those left puzzled by what they just watched and with more questions than answers, however, others will find it to be a riveting and twisted thriller. Although I’m aware of the film’s issues, including a confusing story and lack of Wright’s trademark humour, this didn’t prevent me from thoroughly enjoying what he’s made with Last Night In Soho. Wright succeeds in capturing the darker sides of London and creates a creepy atmosphere from the moment Eloise arrives in Soho. 

The timing of Last Night In Soho’s release couldn’t be more perfect. It was originally meant to be released in October last year but was postponed after the United Kingdom went into another lockdown, following the spread of the coronavirus. While a lot of films have skipped a theatrical release and gone straight to home release, Wright prioritised a cinema release and it’s easy to see why. Last Night In Soho is a film made to be watched on the big screen, especially during Halloween. 

With Last Night In Soho, director Edgar Wright has created a dark and twisted thriller with Thomasin McKenzie and Anya Taylor-Joy shining in their roles.

8/10