After embracing horror for the first time in his action-comedy cult classic Shaun of the Dead, Edgar Wright delivers a full-blown psychopathic terror flick that this time blends an ode to 1960s London-era style in Last Night in Soho (see also five reasons why to watch this film here). Not to forget his signature style, Wright reiterates his flagship formula: maximizing music for narrative effects and building the atmosphere of his films, as he has done brilliantly in Baby Driver.
Last Night in Soho is centered on a young girl named Eloise Turner (Thomasin McKenzie) who in order to pursue her dream of becoming a famous fashion designer, moves to London to study at a fashion school there. Initially living in a dormitory, Eloise, unable to stand her roommates, decides to live alone.
This is where it all started. Every night, he begins to dream about moments from the 1960s, particularly the experiences of a wannabe singing girl named Sandie (Anya Taylor-Joy), who have a huge impact on her daily life. However, over time Eloise’s dream about her good past begins to turn into a traumatic nightmare.
First and foremost, Edgar Wright brings a unique vision to Last Night in Soho. This film is full of stunningly detailed environment construction and gripping storytelling that will absorb you into the experience as easily as Eloise is captivated and captivated by her fantasy. Wright effectively subverts and reconstructs not only the psychological horror genre, but also the filmography itself, in an interesting way. The premise itself, in general, is actually quite outdated, but is redeemed by its outstanding technical and visual design.
Compared to Wright’s previous works, this latest directive has a darker and more dramatic story packaging. So, you shouldn’t expect this film to have a story formula similar to Wright’s previous films.
Contrasting with Baby Driver who immediately stepped on the gas with a high octane with a pounding beat and was fairly constant from beginning to end, this time Wright took a different pattern. Here, the style of the film is so subtle that it’s truly mesmerizing to watch from start to finish, with a choice of bright color palettes that create an extraordinary atmosphere, blending well with the music and many haunting versions of “Downtown”. However, typical of a thriller film, the tone gradually turns darker as the scale of the conflict slowly but surely creeps up, until the end of the climax act.
Overall, this is an impressively and effectively very interesting film. In addition, the performance of the key players who are able to properly translate their respective roles, especially the main spearhead duo McKenzie and Taylor-Joy, adds to the quality of the presentation.
Wright’s sensibility and passion for all things glamorous music, fashion, and film is captured wonderfully in every element of this film. Last Night in Soho combines Baby Driver’s slick and precise editing with chaotic energy, colorful characters and the uniqueness of Scott Pilgrim vs. The World.
Simultaneously horror, comedy, thriller, mystery, romance, and past-future tales, each progression and choice of songs work to form a complementary mosaic and riveting cinematic experience. Wright here is like a master magician with high technique who is still able to invite admiration even though he only plays a simple old magic trip.
The plus-minus of Last Night in Soho is that it is easy to see that unlike Baby Driver, this film will be at a crossroads between being liked or hated by film audiences without it being easy to determine which side is right and that’s the reason why the writer liked it so much, namely that this film is not meant for everyone. Last Night in Soho is such a complete cinematic experience that while you might guess the surprise, you’ll still be blown away by it.
Last Night in Soho can be seen in theaters starting November 3, 2021
