LAST NIGHT IN SOHO
Starring: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Michael Ajao, Diana Rigg, and Terence Stamp
Director: Edgar Wright
Last Night in Soho is a beautiful and haunting tale. Director Edgar Wright's ability to transport the viewer back to the 1960s is sublime, especially when paired with such wondrous visuals. On the technical side, this should be an awards juggernaut. On the performance side, ladies and gentlemen, Thomasin McKenzie. The actor's recent work has been good, but this is one of those performances that will make you seek out her next project. This is another triumph for Wright, who is on the shortlist of directors that can sell a film on name alone, an accolade the man has earned.
It's hard to express how much I loved Last Night in Soho in under 100 words. Edgar Wright's time-bending psychological horror shows he's in full control of his unique and beyond-entertaining style. The writing has laughs, twists, and remarkable characters that balance incredibly well with the film's themes of exploitation and nostalgia. The two headlining actresses are the best they've ever been, but it's Thomasin McKenzie that blew me away. As for the film's technical aspects, everything is firing on all cylinders, especially the costumes and cinematography. The final 15 minutes goes a little overboard, but this movie floored me.
Aside from most of his Cornetto trilogy (loved The World’s End, not so much the other two), I’m generally a fan of filmmaker Edgar Wright, which makes it all the more disappointing that I didn’t care for Last Night in Soho. Long story, short: this movie is the epitome of lipstick on a pig. Every bit of production design, from the sets to the costumes, is a beauty to behold, while the soundtrack is the absolute tits. However, all the goodwill that those things generate is wasted as they support a boring mess of a story full of uninteresting characters.