Last Night in Soho review

LAST NIGHT IN SOHO: 

EDGAR WRIGHT MAKES THE 60s COME ALIVE IN THIS CHILLING AND INGENIOUSLY CRAFTED THRILLER! 

By Nico Beland

Movie Review: **** out of 4

FOCUS FEATURES

Thomasin McKenzie and Anya Taylor-Joy in Last Night in Soho

 

            Director, Edgar Wright (Cornetto trilogy, Scott Pilgrim VS the World, Baby Driver) takes us back in time to the whimsical albeit mysterious 1960s in Last Night in Soho. This is one of Wright’s most ambitious films (Which is saying something given his filmography!) as it’s his first venture into the thriller genre which is very much like when Jordan Peele and Paul Feig surprised moviegoers with Get Out and A Simple Favor. 

            This along with Antlers (Which I will be reviewing next time) were my two most anticipated movies of 2021 ever since I saw the trailers. The trailers for this grabbed me and made me feel like I was in for the ride of my life as this London girl somehow gets transported into the 1960s and must piece together clues related to an incident that occurred during that era. 

            Not sure how I’d rank it with Wright’s other movies, but after seeing it I can gladly say that I absolutely love this movie. Granted the third act isn’t quite as strong compared to the rest of the film, but I was completely engrossed in the film and invested in the story and characters all the way through, not to mention it has a kicking soundtrack mostly of music popular at the time and this is quite possibly Edgar Wright’s most stylish film, visual wise. 

            The film follows Ellie (Thomasin McKenzie-Leave No Trace, Jojo Rabbit, Old), a girl who aspires to become a fashion designer and has a strange sixth sense (*whispers* She sees dead people!). Anyway, she travels to London to study in fashion design, but whenever she goes to bed, she is suddenly whisked away to London in the 1960s where she learns about a dazzling wannabe singer named Sandie (Anya Taylor-Joy-The Witch, The Queen’s Gambit, The New Mutants) who turns Ellie’s world upside-down. 

            Ellie soon discovers these aren’t dreams she’s been having; they’re visions of events that occurred in Sandie’s life and realizes that underneath the 1960s London glamour hides a dark secret. With only her wits, Ellie must piece together the clues and solve the mystery of what happened to Sandie all those years ago. 

            The film also stars Matt Smith (Doctor Who, Terminator: Genisys, Morbius) as Sandie’s boyfriend and manager, Jack, Terence Stamp (Superman II, The Adventures of Priscilla, Queen of the Desert, Big Eyes) as The Silver Haired Gentleman, the late, Diana Rigg (A Midsummer Night’s Dream, On Her Majesty’s Secret Service, Breathe) as Ms. Collins, Rita Tushingham (A Taste of Honey, Doctor Zhivago, Being Julia) as Ellie’s grandmother, Peggy, Jessie Mei Le (Shadow and Bone, All About Eve) as Lara, Synnøve Karlsen (Medici, Clique) as Ellie’s roommate, Jocasta, the late, Margaret Nolan (Goldfinger, The Beatles: A Hard Day’s Night, Carry On franchise) as Sage Barmaid, Lisa McGrillis (Hebburn, Inspector George Gently, Mum) as a Female Detective, and James and Oliver Phelps (Harry Potter franchise) as Charles and Ben. 

            Overall, Last Night in Soho is a mind-blowing experience and Edgar Wright’s most experimental film since Scott Pilgrim (Although that movie for sure feels more like an Edgar Wright project than this one). It doesn’t any of his trademark fast editing or visual gags showcased in most of his other films, and it isn’t a comedy which is why as I was watching it, I kept thinking back to Paul Feig and A Simple Favor where it felt like an excuse for these filmmakers usually known for comedies to venture out into the great unknown and express their darker side…and have it pay off. 

            Edgar Wright captures the magic as well as the sense of mystery of 1960s London whenever it’s onscreen through the production design, camera work, and lighting. I especially love how it contrasts with the somewhat gritty and less glamorous London of the present day (In the movie’s world!), the 60s London looks like something right out of a fairy tale and Ellie getting whisked away to it in her sleep feels very reminiscent to Alice ending up in Wonderland or Dorothy finding herself in Oz and quite often it’s like you (The audience) was transported alongside Ellie as well, this is easily the best-looking of Edgar Wright’s films. 

            However, as gorgeous, and lovely this film is to look at, it also doesn’t shy away from the more suspenseful moments since this is technically a horror movie. While I wouldn’t really call this a “scary movie”, its subject matter and themes can often be quite disturbing, you got depictions of murder (Sometimes shown in graphic and bloody detail), ghosts, mistreatment of women, abusive relationships, etc. It’s unlikely anyone will be having nightmares after watching this film, but a lot of the imagery and themes can be quite unsettling. 

            The acting is excellent, especially from Anya Taylor-Joy and Thomasin McKenzie, this is probably the best I’ve ever seen Anya Taylor-Joy in anything whether a movie or show, she is electrifying as Sandie. She has this mysterious presence whenever it flashes back to her in the 60s (Honestly, there’s a much larger mystery regarding the character herself more than the events that happened related to said character) and the spotlight is always on her every time she’s onscreen…oh, and she’s got a great singing voice also! 

            Thomasin McKenzie, hot off Jojo Rabbit and Old just kills it as Ellie in one of her first starring roles (If not, her first). If Anya Taylor-Joy’s character is supposed to be the kinda sort-of bad girl, then McKenzie is the wide-eyed innocent of the film who observes everything that happens, and she plays the part very well. 

            I think she’s one of the most likable and endearing protagonists I’ve seen all year, she’s kind and very charismatic, but she has her limits and has a sense of determination to solve the mystery revolving around Sandie. Both McKenzie and Taylor-Joy shine and I look forward to seeing them in other films and shows in the future. 

            Much like another Edgar Wright-directed film, Baby Driver, the soundtrack also plays a huge part in this movie which mostly consists of popular songs from the 1960s which does help make 60s London come alive. In fact, I love the soundtrack so much that I went ahead and bought it from iTunes upon coming home from the movie, that is how good this music is. 

            If I had to point out a few nitpicks, it’d be the lack of reasoning behind Ellie’s ability to see dead people other than to get the plot rolling and that the third act gets a little…silly, I’ll just leave it at that. But you know what? I was so engrossed and invested in the first two acts that I honestly don’t care if the final act is a bit weak. 

            I adore pretty much everything about Last Night in Soho, it might even be the best movie I’ve seen in 2021 which I’m probably a small minority on but I don’t care. This is one trip you’ll never forget.