LAST NIGHT IN SOHO – “Quite the stylishly hypnotic horror”
Edgar Wright (Baby Driver – 2018)
- Thomasin McKenzie as Eloise Turner
- Anya Taylor-Joy as Sandie
- Matt Smith as Jack
- Terence Stamp as the Silver Haired Gentleman
- Michael Ajao as John
- Diana Rigg as Miss Collins
- Rita Tushingham as Peggy Turner
Eloise, a young woman with a passion for fashion design and a strange sixth sense, finds herself transported back in time to 1966 London in the body of an iconic night club singer of the era named Sandie. While in Sandie's body, Eloise begins a romantic relationship; but she begins to realize that Sandie's life in the Swinging Sixties is not as glamorous as it appears to be and both past and present begin to fall apart with horrifying consequences.
Edgar Wright’s Last Night in Soho is quite the stylishly hypnotic horror. What works best are the gorgeous (not to mention trippy) throwback sequences. The 60’s laced soundtrack, the vibrant fashion, the neon exteriors and velvety interiors – it’s all a big cinematic chefs kiss. The performances also sparkle brightly, with Anya Taylor Joy and Thomasin McKenzie driving the film with their stellar mirrored depictions. It’s just a shame that their characters are woefully underwritten. Matt Smith might be the biggest highlight here, as he oozes enough dapper mystery to make Don Draper jealous. Things get a little more uneven in the plot department though. It’s ambitious, that’s for sure. And while the supernatural mystery is interesting throughout, there’s admittedly one too many predictable “twists” by the end. That ending is sure to divide audiences (as least it did in my screening). But, here’s the thing, Wright and Co clearly took chances. And while they don’t always work, it’s a commendable, never dull, effort. So, not perfect by any means, Last Night in Soho remains fashionably distinctive – more than I can say for 90% of the other horror films out there.