Edgar Wright returns with his first feature film since 2017's Baby Driver with Last Night in Soho, a psychological horror film that doubles as a love letter to his home-away-from-hometown, London. ,tMoving to London for university, the young Eloise is drawn into the flash of the big city and the opportunities that await her. Inspired by the 60s, she finds herself transfixed by a wannabe singer who she is able to meet in her dreams; but as reality begins to blur, and those dreams become nightmares, she is unable to escape the horrors that have followed her home. Thomasin McKenzie, Anya Taylor Joy, Diana Rigg and Matt Smith star.
An exceedingly stylish tribute to the 60s, London and the horror genre, Last Night in Soho is a film that knows how to have fun - and ensures that you do too. An unrelenting, mightily enjoyable and creatively frenzied genre-hopper, Last Night in Soho is a sandbox that writer-director Edgar Wright is clearly having the time of his life playing. With such a strong, fascinating vision, exuding a confidence that convinces when the film's narrative direction and thematic decisions perhaps do not, Wright gives structure and order to Soho that at least makes the journey an exciting one to be on.
As with every film Wright has put his name to, it plays like an extremely well-oiled machine. Cinematographer Chung Chung-hoon assists in transfixing audiences with sleek, smooth and hypnotic camera trickery, using the blurred lines between reality and nightmare to create a discomfort that leads to some terrifically-executed jump scares that burrow under your skin and push you closer to the edge of your seat. Neon-lit production and dazzling costume design immerse you in the 60s so thoroughly, while the carefully-curated soundtrack works wonderfully alongside Steven Price's original score to cultivate the growing fear. Soho cannot be faulted technically, with some of the very best putting their names to the feature.
With a screenplay from Wright co-written with Krysty Wilson, Soho's concept is an impressive one. Placing its two female characters front and centre results in some strong character development, with both the similarities and differences in Eloise (McKenzie) and Sandy (Taylor Joy) well contrasted and showcased; Sandy feels like more than just a walking, talking, singing muse, while Eloise's suffocating anxieties as she becomes further and further out of her depth are recognisable and well-realised -- as someone who viewed this at London Film Festival, always an overwhelming experience, the mirrored anxieties felt all the palpable and genuine. It takes such pride, time and care in rendering a lavish vision of London's Soho that it becomes a character in its own right, with the location scout particularly worthy of plaudits for this.
But there's no denying that the film loses its way, notably as we a chaotic third act. Overstuffed with style but perhaps lacking the substance (or rather, a firm, established message) to keep the wheels turning, the grand finale may not feel satisfying to most. It is brash and it is admirable with the ferocity in which it is presented to us, but an inability to wrap it all up with a concise, pointed message undermines a lot of the strong work that came before it. Likewise, scenes are dragged down by wobbly dialogue and misplaced humour at times, surprising given how well Wright has mastered these elements in previous films.
Thomasin McKenzie's task of grounding the picture throughout the increasing chaos is an unenviable one, but she does so with the skill of an actress with experience beyond her years. Delivering a committed turn, she continues to cement herself as one of the most promising young stars working today; her doe-eyed naivety ensuring the dangers feel all the more tangible, and her hellish descent seem realistic. On the opposite of the coin, but executing her role with equal success, the radiant Anya Taylor Joy beguiles and dazzles as 60s starlet Sandy. Able to cut loose in a fun, camp role, while still doing what is required for her character's journey, Taylor Joy's magnetism keeps us in suspense throughout the time travel romping. On a somewhat sombre note, Diana Riggs is terrific in her final film role, an opportunity which she sinks her teeth into with sheer glee.
One thought that struck me during this film: was this the pre-covid cut of the film? It appears to be cluttered in a way that Edgar Wright films have never been before, and it leads me to speculate as to whether the pandemic-enforced delays had led to more flavours being added to the pot, so to speak. While it may have enriched Soho with some restraint exercised, there isn't much in the way of that, and it has arguably ended up diluting the original film's vision. It is disappointing that the film cannot land the conclusion in a satisfying manner, because the journey is frequently exciting.
Last Night in Soho is a messy one. Undoubtedly a thrill ride, a thoroughly enjoyable picture and one that is sure to be rewarded by repeat viewing. But is it a particularly good film? There seems to be so much going on, while simultaneously not much going on in the way of substances, with a blunt thematic conclusion that appears to be unsure of its actual message. Does that matter too much when the film is so entertaining? I'm not sure it does -- but from a director as typically reliable as Wright, you expect the two to be balanced more carefully and successfully. With a vision never less than exciting, a game cast, dazzling production and solid soundtrack, Last Night in Soho is an in-the-moment adrenalised tribute to London, the 60s and the horror genre, even if it lacks the impact of director's better work.