I understand what Edgar Wright tried to do, but I could not help but feel that this story would have been more intersting if it were less horror focused and more of a straightforward mystery with flashbacks.
916 Reviews
About Last Night..
aciessi29 October 2021
Last Night in Soho really had me hypnotized. I feel like that's a comment that will be said by a lot of people, but that's exactly the kind of effect this film has. Edgar Wright brings us a dreamy, groovy ghost story that heavily pays tribute to Suspiria, along with other film classics from the 60s and 70s. Being Britain's top film junkie, Edgar Wright can get a hold of a camera and make it seem like you're walking into a video store at full blast. His love of this specific genre of horror is just gushing here. His love of music is also as romantic as ever. Music plays just as important of a role here as it did in Baby Driver, even if the songs aren't full-on characters of their own. Mackenzie and Taylor-Joy carry this film fully on their shoulders, and by God, do they rock it. I've been incredibly impressed with Thomasin Mackenzie since Jojo Rabbit, and if this film doesn't rocket her career all the way to the top, nothing will. There's so much to love about this movie. It's a trace. No, it's a trip.
A beautifully shot film that can't reach the narrative goals it sets for itself
eddie_baggins19 November 2021
His conquered the living dead with nothing more than unwanted vinyl records, alien invaders in small country towns and even managed to wrangle baby drivers but there's no doubt Last Night in Soho is beloved British director and critical darling Edgar Wright's most ambitious film yet and a film that doesn't always reach the lofty goals it sets for itself even if its a beautifully shot and unique thriller mixed with horror elements.
His first film narrative feature film since Baby Driver in 2017, Soho is undoubtedly a labor of love for Wright who produces his most un-Wright feeling film yet, that follows Thomasin McKenzie's country girl fashion designer to London, where her rental of a small bedroom apartment leads her to experience vivid and increasingly frightening visions into the life of a seemingly real London resident of the 60's named Sandie (a mesmerizing Anya Taylor-Joy) creating a very late 60's/70's feeling feature that struggles to keep itself on the rails as the runtime wears on.
Magnificently capturing the time and place of the London era of the setting with help from Old Boy and Handmaiden cinematographer Chung-hoon Chung (delivering Oscar worthy work) and some eclectic and toe tapping concoction of classic tunes from the era that once more suggests Wright is right up there with Quentin Tarantino when it comes to sound-tracking his films and particular scenes, Soho has a lot to admire and for its first 30 to 40 minutes things rollick along at a great pace with a lot of intrigue in what's happening and what's around the corner but the film does get into a mid to late section funk that becomes both repetitive and a little too much to handle narrative wise.
You can see what Wright was trying too do and how he wanted his film to evolve but that doesn't excuse the loop we end up getting stuck in and the sometimes questionable choices that Eloise makes (with some added overacting by a trying hard but not always hitting the mark McKenzie) and while visually and atheistically everything is always of a very high standard, there's a coldness to the story of Soho and it never quite works as well as you'd like as a mystery or a fully fledged horror that it at times appears to be wanting to be.
In amongst all of the narrative let downs and feeling that it never quite hits the marks it sets for itself is the continued great work of Taylor-Joy whose growing into one of the most interesting actors working today, a fairly chilling performance from the usually likable Matt Smith and a central plot that at the very least doesn't play things out in the usual schtick, making Soho far from a complete misfire but nothing more than an intriguing could've been film that I am sure Wright and his fanbase will look back on in days to come as a missed opportunity to create something spectacular.
Final Say -
A film that sets itself a tricky task its never fully able to handle, Last Night in Soho is a high quality feature that can't ever quite juggle its various elements into a final product that feels worthy of its goals.
3 Vesper's out of 5.
His first film narrative feature film since Baby Driver in 2017, Soho is undoubtedly a labor of love for Wright who produces his most un-Wright feeling film yet, that follows Thomasin McKenzie's country girl fashion designer to London, where her rental of a small bedroom apartment leads her to experience vivid and increasingly frightening visions into the life of a seemingly real London resident of the 60's named Sandie (a mesmerizing Anya Taylor-Joy) creating a very late 60's/70's feeling feature that struggles to keep itself on the rails as the runtime wears on.
Magnificently capturing the time and place of the London era of the setting with help from Old Boy and Handmaiden cinematographer Chung-hoon Chung (delivering Oscar worthy work) and some eclectic and toe tapping concoction of classic tunes from the era that once more suggests Wright is right up there with Quentin Tarantino when it comes to sound-tracking his films and particular scenes, Soho has a lot to admire and for its first 30 to 40 minutes things rollick along at a great pace with a lot of intrigue in what's happening and what's around the corner but the film does get into a mid to late section funk that becomes both repetitive and a little too much to handle narrative wise.
You can see what Wright was trying too do and how he wanted his film to evolve but that doesn't excuse the loop we end up getting stuck in and the sometimes questionable choices that Eloise makes (with some added overacting by a trying hard but not always hitting the mark McKenzie) and while visually and atheistically everything is always of a very high standard, there's a coldness to the story of Soho and it never quite works as well as you'd like as a mystery or a fully fledged horror that it at times appears to be wanting to be.
In amongst all of the narrative let downs and feeling that it never quite hits the marks it sets for itself is the continued great work of Taylor-Joy whose growing into one of the most interesting actors working today, a fairly chilling performance from the usually likable Matt Smith and a central plot that at the very least doesn't play things out in the usual schtick, making Soho far from a complete misfire but nothing more than an intriguing could've been film that I am sure Wright and his fanbase will look back on in days to come as a missed opportunity to create something spectacular.
Final Say -
A film that sets itself a tricky task its never fully able to handle, Last Night in Soho is a high quality feature that can't ever quite juggle its various elements into a final product that feels worthy of its goals.
3 Vesper's out of 5.
Visually Arresting But Narratively Hollow
CinemaClown19 November 2021
From the writer-director of Three Flavours Cornetto trilogy comes a stylishly crafted, smartly photographed & skilfully acted psychological horror that's swirling with nostalgia & affection for the Swinging Sixties. Last Night in Soho attempts to capture the dangers of romanticising the past while showcasing the dark side of show business only to throw it all away in the end.
Co-written & directed by Edgar Wright (Scott Pilgrim & Baby Driver), the first hour is carried out rather well with steady build-up and deft juggling of drama & mystery but the story also falls flat once it enters the third & final act. The horror elements don't pack a thrilling punch either, offering nothing new or effective. As for the script, the writing is substandard at best and required more polish.
The camera also exhibits restraint in its manoeuvring which is unusual for a Wright film but that doesn't mean it's lacking creativity, for it still packs some neat techniques & ingenious tricks. Editing is inconsistent with the narrative flow & pacing while the music brims with 1960s flavours. Thomasin McKenzie & Anya Taylor-Joy contribute with splendid performances and are finely supported by the rest of the cast.
Overall, Last Night in Soho is visually striking and has no trouble whatsoever in transporting its viewers to a bygone era but it also runs out of ideas as it nears its conclusion and settles for an insipid ending. The film does impress in bits n pieces, especially with its neon-bathed visuals, meticulous production design & clever camerawork, but it doesn't amount to a lot in the end. In short, Edgar Wright's latest is amongst his weakest.
Co-written & directed by Edgar Wright (Scott Pilgrim & Baby Driver), the first hour is carried out rather well with steady build-up and deft juggling of drama & mystery but the story also falls flat once it enters the third & final act. The horror elements don't pack a thrilling punch either, offering nothing new or effective. As for the script, the writing is substandard at best and required more polish.
The camera also exhibits restraint in its manoeuvring which is unusual for a Wright film but that doesn't mean it's lacking creativity, for it still packs some neat techniques & ingenious tricks. Editing is inconsistent with the narrative flow & pacing while the music brims with 1960s flavours. Thomasin McKenzie & Anya Taylor-Joy contribute with splendid performances and are finely supported by the rest of the cast.
Overall, Last Night in Soho is visually striking and has no trouble whatsoever in transporting its viewers to a bygone era but it also runs out of ideas as it nears its conclusion and settles for an insipid ending. The film does impress in bits n pieces, especially with its neon-bathed visuals, meticulous production design & clever camerawork, but it doesn't amount to a lot in the end. In short, Edgar Wright's latest is amongst his weakest.
Sandie Sure?
southdavid3 December 2021
I went on an Edgar Wright binge during lockdown, half just to see them again and half with an eye on the fact that "Last Night in Soho" was due out when the lockdown lifted. Though I generally would say that I liked the film, unfortunately I felt the conclusion let it down.
Eloise (Thomasin McKenzie) moves from Cornwall to London to become a fashion designer. Obsessed with 1960's culture, she struggles to make friends and leaves the halls of residence for a flat in a house owned by Ms Collins (Diana Rigg). On her first night, she dreams about Sandie (Anya Taylor-Joy) a singer who came to Soho in the 1960's and who fell in with Jack (Matt Smith). As the dreams mix with reality, Eloise comes to question her sanity, what happened to Sandie and who the silver haired gentleman (Terence Stamp) hanging around the city might be.
The stuff that I admired most about the film were related to the performances and to Edgar Wright's direction. There is some very clever work done during the dream/haunting sequences to relay that the characters of Eloise and Sandie are both living the same life and the Eloise is watching it from a distance. There's a dance scene, which is very cleverly choreographed so that both characters can dance with Jack without cutting away. Anya Taylor-Joy really can do anything and make it compelling but as a Giallo-esque femme fetale / victim she's at her most arresting. Smith is a convincing charming heavy though he doesn't feature in the film as much as the girls. Thomasin McKenzie carries an excellent Cornishy accent through the film, and keeps Eloise likable, even when she becomes overwhelmed.
But... I'm not convinced that the story matches up with the talent elsewhere. I don't think the film makes as much sense as it thinks it does, in its conclusion. (Sorry if that sounds vague, bit I'm trying to write without spoilers). Its twist is relatively easy to see coming, though some of the dialogue details from earlier in the film hit differently once you know. I also don't think it's particularly scary, and the "ghosts" in the film aren't an especially well-done effect.
Overall, I enjoyed my time with the film but I can't help and think of it as a missed opportunity for something truly special.
Eloise (Thomasin McKenzie) moves from Cornwall to London to become a fashion designer. Obsessed with 1960's culture, she struggles to make friends and leaves the halls of residence for a flat in a house owned by Ms Collins (Diana Rigg). On her first night, she dreams about Sandie (Anya Taylor-Joy) a singer who came to Soho in the 1960's and who fell in with Jack (Matt Smith). As the dreams mix with reality, Eloise comes to question her sanity, what happened to Sandie and who the silver haired gentleman (Terence Stamp) hanging around the city might be.
The stuff that I admired most about the film were related to the performances and to Edgar Wright's direction. There is some very clever work done during the dream/haunting sequences to relay that the characters of Eloise and Sandie are both living the same life and the Eloise is watching it from a distance. There's a dance scene, which is very cleverly choreographed so that both characters can dance with Jack without cutting away. Anya Taylor-Joy really can do anything and make it compelling but as a Giallo-esque femme fetale / victim she's at her most arresting. Smith is a convincing charming heavy though he doesn't feature in the film as much as the girls. Thomasin McKenzie carries an excellent Cornishy accent through the film, and keeps Eloise likable, even when she becomes overwhelmed.
But... I'm not convinced that the story matches up with the talent elsewhere. I don't think the film makes as much sense as it thinks it does, in its conclusion. (Sorry if that sounds vague, bit I'm trying to write without spoilers). Its twist is relatively easy to see coming, though some of the dialogue details from earlier in the film hit differently once you know. I also don't think it's particularly scary, and the "ghosts" in the film aren't an especially well-done effect.
Overall, I enjoyed my time with the film but I can't help and think of it as a missed opportunity for something truly special.
Consistently entertaining
george_t932 October 2021
What if Hitchcock an Dario Argento had a nephew that loved Agatha Christie novels? That's the premise of the film's aesthetics and I found especially the first half of the film to be really captivating. Anya Taylor Joy's first scene especially was really masterfully crafted. The leading actress was also impeccable.
Nevertheless as the film's story built up steam for a climax, the choice of a particularly ugly CGI and some pointless jump-scares started putting me off. The writing became over the top by the end, but at least it all made sense eventually. Thankfully it maintained a steady coolness, with great music and solid acting, and beautiful costumes and scenery. While the nonsense put off some of my "film buff" friends, I found it consistently entertaining, and a fun time at the movies.
I saw this at a late night screening, at Athens International Film Festival. The hour, the crowd and the vibe really helped the movie experience for me. I recommend it, if you don't get in with high expectations.
Nevertheless as the film's story built up steam for a climax, the choice of a particularly ugly CGI and some pointless jump-scares started putting me off. The writing became over the top by the end, but at least it all made sense eventually. Thankfully it maintained a steady coolness, with great music and solid acting, and beautiful costumes and scenery. While the nonsense put off some of my "film buff" friends, I found it consistently entertaining, and a fun time at the movies.
I saw this at a late night screening, at Athens International Film Festival. The hour, the crowd and the vibe really helped the movie experience for me. I recommend it, if you don't get in with high expectations.
A Thoroughly Decent Film, But it Doesn't Live Up to the Trailers
sipodge7 November 2021
I was captivated by the premise of the film, as seen in the trailers, but unfortunately the film falls flat after the halfway mark. The direction is superb, the acting worthy of praise, and the 1960s soundtrack a fabulous touch; however, the plot (although not complicated) is more complex than it needs to be: trying to be more clever than it actually is, particularly in the final act.
The main character, whose story and experiences we follow, starts out as unique and captivating, standing in stark contrast to the world around her - which creates some interesting conflicts; however, by the end of the film she loses this edge and (perhaps intentionally) is indistinguishable from the world around her.
Additionally, it was lovely to see Dame Diana Rigg on the big screen one last time, but it's a shame that this was to be her final role.
Last Night in Soho is a thoroughly decent film, but is disappointing in light of the creative flair promised in the trailers.
The main character, whose story and experiences we follow, starts out as unique and captivating, standing in stark contrast to the world around her - which creates some interesting conflicts; however, by the end of the film she loses this edge and (perhaps intentionally) is indistinguishable from the world around her.
Additionally, it was lovely to see Dame Diana Rigg on the big screen one last time, but it's a shame that this was to be her final role.
Last Night in Soho is a thoroughly decent film, but is disappointing in light of the creative flair promised in the trailers.
Stylish psychological thriller. Final outing for the late, great Diana Rigg.
Sleepin_Dragon20 November 2022
Cornish fashion student Eloise moves into a room of an elderly lady's home, when she's there she's able to consciously move back to the 1960's, and see the life of a beautiful young woman.
It took me a little time to get into it, and understand exactly what was going on, but overall, I thought this was a rather excellent film.
It builds and changes pace as it progresses, moving from a suspense intrigue story, into a horror thriller conclusion. You'll need to be concentrating, or you'll miss what's going on.
Diana Rigg, the legend, much missed, was the standout for me, (when wasn't she!) putting in a phenomenal performance, credit to Thomasin McKenzie too, she did a great job, the only person for me who was a little cringey at times, was Matt Smith, maybe not his finest moment.
Two scenes stood out for me, the epic conclusion, loved that, some terrific acting, and as reveals go, this was big, and the scene in the library, that was really freaky.
Beautifully stylish and atmospheric, if you love the 1960's as I do, you'll appreciate the fashions, you'll love the music, overall it's a visual feast.
Highly recommended 8/10.
It took me a little time to get into it, and understand exactly what was going on, but overall, I thought this was a rather excellent film.
It builds and changes pace as it progresses, moving from a suspense intrigue story, into a horror thriller conclusion. You'll need to be concentrating, or you'll miss what's going on.
Diana Rigg, the legend, much missed, was the standout for me, (when wasn't she!) putting in a phenomenal performance, credit to Thomasin McKenzie too, she did a great job, the only person for me who was a little cringey at times, was Matt Smith, maybe not his finest moment.
Two scenes stood out for me, the epic conclusion, loved that, some terrific acting, and as reveals go, this was big, and the scene in the library, that was really freaky.
Beautifully stylish and atmospheric, if you love the 1960's as I do, you'll appreciate the fashions, you'll love the music, overall it's a visual feast.
Highly recommended 8/10.
Very Unique Movie
Movies_Frever4 September 2021
Old school
kosmasp3 November 2021
Edgar Wright seems to polarize with this movie. Although generally speaking the majority seem to love this as much as I did. Or in similar fashion - no pun intended. And for a genre movie it starts off ... well off (weird). You don't get a shocker, quite the opposite it starts off with a music number/dancing. Which makes sense when you think about it in hindsight and still sets a tone for the viewer - even if not one that is as menacing as the movie becomes later on.
Technically speaking the movie is impeccable. Anyone arguing differently surely has not seen far lesser movies produced than this and is probably blinded by the fact they don't like the movie. Which is more than fine, just don't let your dislike turn into a general bashing. One does not have to like a movie that is well made. We have different tastes and that is a good thing.
There are things that depending on how you view things, may feel like flaws or things the movie did not get right. Like the moral ambiguity or the love interest. The latter may feel a bit one dimensional, but ask yourself this: how many female love interests have been played or rather written the exact same way? So this is nothing unusual - unless you count the gender swap for who is playing the gullible and way too nice person to be real ... having said that, again that may not be enough to sway you to like the movie or the characters.
And the moral issues the movie displays including an ending that some may not be entirely left satisfied with (character choices and so much more) - with many unanswered questions ... on the other hand, some things are better left without an answer, so we as viewers can fill in the blanks.
Stylish and probably with quite a few in-camera effects (I imagine certain tricks were used to avoid a higher special effects cost, but I may be wrong), this movie has a few exquisite jump scares and a really good story as a backbone. Oh and before I forget, a great cast. It has been ages since I last saw Terence Stamp on the big screen ... Covid aside of course.
Anyway, really good genre movie by a director who knows what he wants - for an audience who mostly seems to appreciate it.
Technically speaking the movie is impeccable. Anyone arguing differently surely has not seen far lesser movies produced than this and is probably blinded by the fact they don't like the movie. Which is more than fine, just don't let your dislike turn into a general bashing. One does not have to like a movie that is well made. We have different tastes and that is a good thing.
There are things that depending on how you view things, may feel like flaws or things the movie did not get right. Like the moral ambiguity or the love interest. The latter may feel a bit one dimensional, but ask yourself this: how many female love interests have been played or rather written the exact same way? So this is nothing unusual - unless you count the gender swap for who is playing the gullible and way too nice person to be real ... having said that, again that may not be enough to sway you to like the movie or the characters.
And the moral issues the movie displays including an ending that some may not be entirely left satisfied with (character choices and so much more) - with many unanswered questions ... on the other hand, some things are better left without an answer, so we as viewers can fill in the blanks.
Stylish and probably with quite a few in-camera effects (I imagine certain tricks were used to avoid a higher special effects cost, but I may be wrong), this movie has a few exquisite jump scares and a really good story as a backbone. Oh and before I forget, a great cast. It has been ages since I last saw Terence Stamp on the big screen ... Covid aside of course.
Anyway, really good genre movie by a director who knows what he wants - for an audience who mostly seems to appreciate it.
Repetitive night in Soho
MissSimonetta13 March 2023
There's a solid giallo-esque thriller inside this lumbering mess of a film. Director Edgar Wright has style yo spare, bathing this nightmarish London in neon lights that exude both danger and glamor. The re-creations of Swinging London in the flashbacks are also impressive, clearly crafted down to the last detail. Too bad the story sucks.
This is one of those films where the main character is hysterical and naive, and while this is meant to be endearing and sympathetic, I was done with her within the first half hour. The other characters are all flat, from the too good to be true love interest to the twist villain.
Worst of all is how repetitive the middle of the movie is. Ellie is constantly bombarded by visions of vile men, their hands groping at her (is this an homage to Polanski's REPULSION or plagiarism?). It's initially creepy-- then it just becomes rote and boring and overblown.
Maybe if this were an 80 minute movie with 95% less CG ghosts, we'd actually have something manageable. Not good necessarily, but certainly more enjoyable.
This is one of those films where the main character is hysterical and naive, and while this is meant to be endearing and sympathetic, I was done with her within the first half hour. The other characters are all flat, from the too good to be true love interest to the twist villain.
Worst of all is how repetitive the middle of the movie is. Ellie is constantly bombarded by visions of vile men, their hands groping at her (is this an homage to Polanski's REPULSION or plagiarism?). It's initially creepy-- then it just becomes rote and boring and overblown.
Maybe if this were an 80 minute movie with 95% less CG ghosts, we'd actually have something manageable. Not good necessarily, but certainly more enjoyable.
First half is great film, perfect retro; second half is gimmicky horror trope-on-trope
random-7077812 November 2021
Holy smoke what a waste! The actors are all talented, the art direction, sets, costumes, soundtrack are great.
But the second half of this is just the most juvenile simplistic and trope filled junk.
This is another covid era film that looks to be, due to delays, got over- tweeked to bad result.
But the second half of this is just the most juvenile simplistic and trope filled junk.
This is another covid era film that looks to be, due to delays, got over- tweeked to bad result.
So so Soho
murada196729 November 2021
Enrapturing
Calicodreamin3 November 2021
This movie had me hooked from the beginning. The vibe of the neon, eerily upbeat 60s music, and intense cinematography, is unmatched. Acting was decent and the storyline unpredictable (at least to me). A well made movie that haunts, not scares.
Last night in Soho. Review.
giokintsurashvili21 November 2021
The main problem in the movie is well-known and the director succesfully showed to people unlucky women's life. Sound effects and colours are also good. I think the problem of the film is that it is tiring for viewers. I have noticed many moments that were completly unnecesary. Also actors didn't act well and it was boring. To sum up, it is worth to watch, but I had much more expectations than it is actually.
where the neon signs are pretty
ferguson-629 October 2021
Greetings again from the darkness. Every once in a while a movie captures that magic feeling of being swept away, and this wild film from writer-director Edgar Wright and co-writer Kristy Wilson-Cairns (1917) did just that for me. This is my kind of psychological-horror-thriller and with the exception of one sequence that went a bit too "slasher" for my tastes, I had a blast watching it. I'll admit that, while also acknowledging more people will probably not enjoy this, than will. But for those who do, I feel confident they will share my enthusiasm.
Eloise (Thomasin McKenzie, JOJO RABBIT, 2019) opens the film by expressively dancing to Peter & Gordon's "A World Without Love" while sporting a self-designed dress made of perfectly creased newspaper. Her room is filled with 1960's colors and memorabilia and we soon learn she's an orphan raised by her grandmother (Rita Tushingham, A TASTE OF HONEY, 1961). Eloise, or Ellie as she's called, dreams of following her mother's path to London, and is thrilled beyond measure when her acceptance letter arrives from the London School of Fashion. Ellie does carry the burden (and visions) of her mother's mental illness, and her grandmother warns, "London can be a lot." Small town (Cornwall) Ellie with her timidity and wide-eyed innocence arrives in London and is immediately the target of 'mean girl' and fellow student Jocasta (Synnove Karlsen). Rather than subject herself to the abuse, Ellie sublets an attic room from an old lady landlord named Mrs. Collins (the last screen appearance for the great Diana Rigg). Ellie loves the room and her independence, but her dreams act as a portal back to those swinging 60's of which she's so fond. But that's only the beginning. It's here where she follows/becomes Sandie (Anya Taylor-Joy), and the mirror effects are truly other-worldly. Sandie is everything that Ellie wishes she was herself - confident, radiant, ambitious, and beautiful. This dream state allows Ellie to live vicariously through Sandie. At least initially.
The Ellie-Sandie sequences mess with your head in a wonderful way. Sandie seems to float across the club's dance floor, and Ellie is mesmerized at first, before turning protective. The tone shifts when Sandie meets sleazy Jack (Matt Smith), a would-be agent who promises to get Sandie the shot at stardom she desires. This leads to ATJ's amazing and breathy version of Petula Clark's "Downtown". It's a standalone highlight of the film, and a moment that shifts the story yet again. If you are struggling to keep pace, you're not alone.
Soho's glamour is matched only by its grunge. The recurring dreams turn to nightmares, so that even Ellie's waking hours are surreal. A mysterious elderly gent played by Terence Stamp may be the key to the mystery Ellie's so busy trying to solve that she is oblivious to the romantic overtures by nice guy John (Michael Ajao). The nostalgia of the 60's provides a visual treat with the Café de Paris, a massive theater marquee advertising James Bond's THUNDERBALL, and Cilla Black's "You're My World".
Filmmaker Wright gives us so much to discuss, but it's crucial that the best parts not be spoiled. Just know that Oscar winner Steven Price (GRAVITY, 2013) provides an incredible mix of music, while Chung-Hoon Chung's cinematography, Marcus Rowland's Production Design, and Odile Dicks-Mireaux's costumes all nearly steal the show. But of course, that can't possibly happen thanks to the stupendous performances from Anya Taylor-Joy and (especially) Thomasin McKenzie. These are two of the finest young actors working today, and we will be fortunate to watch their careers develop.
Edgar Wright is having quite a year. He's already delivered the terrific documentary, THE SPARKS BROTHERS, and now comes what is his best work yet. You may know his work on BABY DRIVER (2017) or the Three Flavours Cornetto trilogy that kicked off with SHAUN OF THE DEAD (2004). Here, he playfully bounces between genres serving up time travel, a murder mystery, the Soho history, a memorable soundtrack, surreal dream and ghost sequences, a touch of romance, and that previously mentioned 'slasher' scene. A final tip of the cap to Diana Rigg, whose career spanned her role as Emma Peel in "The Avengers" (from the 60's), her time as a Bond girl in ON HER MAJESTY'S SECRET SERVICE (1969), and ultimately as Olenna Tyrell in "Game of Thrones".
Opens in theaters on October 29, 2021.
Eloise (Thomasin McKenzie, JOJO RABBIT, 2019) opens the film by expressively dancing to Peter & Gordon's "A World Without Love" while sporting a self-designed dress made of perfectly creased newspaper. Her room is filled with 1960's colors and memorabilia and we soon learn she's an orphan raised by her grandmother (Rita Tushingham, A TASTE OF HONEY, 1961). Eloise, or Ellie as she's called, dreams of following her mother's path to London, and is thrilled beyond measure when her acceptance letter arrives from the London School of Fashion. Ellie does carry the burden (and visions) of her mother's mental illness, and her grandmother warns, "London can be a lot." Small town (Cornwall) Ellie with her timidity and wide-eyed innocence arrives in London and is immediately the target of 'mean girl' and fellow student Jocasta (Synnove Karlsen). Rather than subject herself to the abuse, Ellie sublets an attic room from an old lady landlord named Mrs. Collins (the last screen appearance for the great Diana Rigg). Ellie loves the room and her independence, but her dreams act as a portal back to those swinging 60's of which she's so fond. But that's only the beginning. It's here where she follows/becomes Sandie (Anya Taylor-Joy), and the mirror effects are truly other-worldly. Sandie is everything that Ellie wishes she was herself - confident, radiant, ambitious, and beautiful. This dream state allows Ellie to live vicariously through Sandie. At least initially.
The Ellie-Sandie sequences mess with your head in a wonderful way. Sandie seems to float across the club's dance floor, and Ellie is mesmerized at first, before turning protective. The tone shifts when Sandie meets sleazy Jack (Matt Smith), a would-be agent who promises to get Sandie the shot at stardom she desires. This leads to ATJ's amazing and breathy version of Petula Clark's "Downtown". It's a standalone highlight of the film, and a moment that shifts the story yet again. If you are struggling to keep pace, you're not alone.
Soho's glamour is matched only by its grunge. The recurring dreams turn to nightmares, so that even Ellie's waking hours are surreal. A mysterious elderly gent played by Terence Stamp may be the key to the mystery Ellie's so busy trying to solve that she is oblivious to the romantic overtures by nice guy John (Michael Ajao). The nostalgia of the 60's provides a visual treat with the Café de Paris, a massive theater marquee advertising James Bond's THUNDERBALL, and Cilla Black's "You're My World".
Filmmaker Wright gives us so much to discuss, but it's crucial that the best parts not be spoiled. Just know that Oscar winner Steven Price (GRAVITY, 2013) provides an incredible mix of music, while Chung-Hoon Chung's cinematography, Marcus Rowland's Production Design, and Odile Dicks-Mireaux's costumes all nearly steal the show. But of course, that can't possibly happen thanks to the stupendous performances from Anya Taylor-Joy and (especially) Thomasin McKenzie. These are two of the finest young actors working today, and we will be fortunate to watch their careers develop.
Edgar Wright is having quite a year. He's already delivered the terrific documentary, THE SPARKS BROTHERS, and now comes what is his best work yet. You may know his work on BABY DRIVER (2017) or the Three Flavours Cornetto trilogy that kicked off with SHAUN OF THE DEAD (2004). Here, he playfully bounces between genres serving up time travel, a murder mystery, the Soho history, a memorable soundtrack, surreal dream and ghost sequences, a touch of romance, and that previously mentioned 'slasher' scene. A final tip of the cap to Diana Rigg, whose career spanned her role as Emma Peel in "The Avengers" (from the 60's), her time as a Bond girl in ON HER MAJESTY'S SECRET SERVICE (1969), and ultimately as Olenna Tyrell in "Game of Thrones".
Opens in theaters on October 29, 2021.
A movie Audrey Hepburn would love to have been in
Durmey23 September 2021
I'm not gonna write any spoilers here, but this movie is a must see for anyone who loves 60's Giallo-styled movies and here is why...
The three pillars that carry this movie are: great acting, killer music and an amazing cinematography
My only point of critique would be the storyline. There are a few minor plotholes and at some point the movie was starting to lose me as a viewer. It became a bit too much of a psychological thriller. Luckily, things got turned around just in time to leave me satisfied in the end. It isn't easy to explain this without giving away spoilers, so I guess you'd have to watch it for yourself.
This movie turned out to be a cinematographic marble and I wasn't expecting this at all. It's made by the same guy who directed Baby Driver and it shows. Both these movies have great acting and a killer soundtrack in common.
Extra bonus points for Anya Taylor-Joy (that girl from the Queen's Gambit). She was amazing as a 60's persona. I really got Audrey Hepburn-vibes from her and that's not a compliment to give lightly.
The three pillars that carry this movie are: great acting, killer music and an amazing cinematography
My only point of critique would be the storyline. There are a few minor plotholes and at some point the movie was starting to lose me as a viewer. It became a bit too much of a psychological thriller. Luckily, things got turned around just in time to leave me satisfied in the end. It isn't easy to explain this without giving away spoilers, so I guess you'd have to watch it for yourself.
This movie turned out to be a cinematographic marble and I wasn't expecting this at all. It's made by the same guy who directed Baby Driver and it shows. Both these movies have great acting and a killer soundtrack in common.
Extra bonus points for Anya Taylor-Joy (that girl from the Queen's Gambit). She was amazing as a 60's persona. I really got Audrey Hepburn-vibes from her and that's not a compliment to give lightly.
Overrated
IMDB-8134720 November 2021
A mixed bag - didn't meet expectations
demaym21 November 2021
This film should have been good and I really wanted to like it. The positives - it looks absolutely great visually and showcases some high quality film making. Good shots, nice effects and mostly decent acting. In terms of British horror, there really isn't that much on offer elsewhere, outside of the very low budget, so this was refreshing to see. That's where the positives end for me.
Now for the negatives - the plot just didn't do it for me unfortunately. It actually became nonsensical, even for me, who often enjoys the 'far out' type of sci-fi/psychological stuff. The genre of this film seemed confused too - it starts out like a family friendly film, then becomes a teen drama, goes a bit sci-fi/fantasy and then descends into horror and gore. It seemed a bit all over the place and was quite the experience - the soundtrack and constant 60's music started to do my head in as time went on. The lead character wasn't doing it for me either - her accent and voice was very meek and watching somebody portray a character with zero confidence or social skills was rather tiresome. After enduring an hour of this and still realising there was another hour to go, I had to take a break and almost didn't come back, which is never a good sign - however, I was intrigued to know where this was all going and needed to see the end.
I made it through and the finale/pay off was disappointing and just seemed silly - yep, there's a big twist but it's not really satisfying and just adds to the nonsensical nature of the film.
Lastly (without giving away spoilers) there's no way, if this were reality, that the lead character wouldn't have been sectioned under the mental health act for her behavior and the things she did throughout this ordeal. I'll leave it there.
A very generous 6/10 and I'm only giving the just above average score due to the massive effort that obviously went into writing, filming and producing this movie - it looked very polished and visually pleasing, with a lot of attention to detail. There's also not much out there, in the British film market, to compare this with so I'll also give credit for the uniqueness and effort to bring something a bit different to the table. I'd in no way discourage anyone from watching this as you might love it (like others in the reviews did). It just wasn't for me unfortunately.
Now for the negatives - the plot just didn't do it for me unfortunately. It actually became nonsensical, even for me, who often enjoys the 'far out' type of sci-fi/psychological stuff. The genre of this film seemed confused too - it starts out like a family friendly film, then becomes a teen drama, goes a bit sci-fi/fantasy and then descends into horror and gore. It seemed a bit all over the place and was quite the experience - the soundtrack and constant 60's music started to do my head in as time went on. The lead character wasn't doing it for me either - her accent and voice was very meek and watching somebody portray a character with zero confidence or social skills was rather tiresome. After enduring an hour of this and still realising there was another hour to go, I had to take a break and almost didn't come back, which is never a good sign - however, I was intrigued to know where this was all going and needed to see the end.
I made it through and the finale/pay off was disappointing and just seemed silly - yep, there's a big twist but it's not really satisfying and just adds to the nonsensical nature of the film.
Lastly (without giving away spoilers) there's no way, if this were reality, that the lead character wouldn't have been sectioned under the mental health act for her behavior and the things she did throughout this ordeal. I'll leave it there.
A very generous 6/10 and I'm only giving the just above average score due to the massive effort that obviously went into writing, filming and producing this movie - it looked very polished and visually pleasing, with a lot of attention to detail. There's also not much out there, in the British film market, to compare this with so I'll also give credit for the uniqueness and effort to bring something a bit different to the table. I'd in no way discourage anyone from watching this as you might love it (like others in the reviews did). It just wasn't for me unfortunately.
Enjoyable movie that misses its full potential
kstice-2519529 October 2021
I love the premise for Last Night in Soho. Edgar Wright creates an original plot and setting by connecting the glamor of the 1960s to modern day through a murder mystery and ghost tale. The movie does a wonderful job at bringing the 1960s alive and peaking the viewer's interest in the mystery. Anya Taylor-Joy steals the show as Sandie, and is accompanied by an amazing soundtrack. Unfortunately, there were enough faults with the movie to prevent it from reaching the level of quality in Edgar Wright's Shaun of the Dead or Anya Taylor-Joy's The Witch. The biggest problem is that the movie feels redundant towards the end, as the suspense and revelations of the past never reach a terrifying level. Another fault is that the climax of the film fails to reach its full potential due to poor character decisions and underutilized supernatural elements. But on the whole, Last Night in Soho is still an enjoyable film worth watching. 6/10
Pros and Cons Summary
+Anya Taylor-Joy
+Amazing soundtrack
+Original plot
-Film gets repetitive towards the end
-The movie should have been scarier and more suspenseful
-Climax has its strong points, but also fails in some noticeable aspects.
Pros and Cons Summary
+Anya Taylor-Joy
+Amazing soundtrack
+Original plot
-Film gets repetitive towards the end
-The movie should have been scarier and more suspenseful
-Climax has its strong points, but also fails in some noticeable aspects.
A Curate's Egg and OTT Missed Opportunity
adamk-210 October 2021
At its heart, this is a neat little ghost/parallel time lines flick, in which wide-eyed fashion student Eloise (Thomasin McKenzie, brilliant), with a fixation on the Sixties and a family history of mental illness, moves to present-day London and soon finds herself sucked back into her favourite time period, playing the part of Sandie (Anya Taylor-Joy, ditto) a wide-eyed aspiring singer who soon discovers the seamy, sleazy side of Swinging London. This rabbit hole, Eloise discovers, goes deep and dirty. At first, it's lovingly filmed, fiendishly clever and, natch, extremely well acted by the absolutely sterling cast, but as the plot (and Sandie's fate) unravels, things go ludicrously over the top, and Eloise is soon haunted by lurid dreams and shambling, zombie-like spectres and it all gets very, very silly and irritating, compounded by the monstrous, unforgiveable cop-out of an ending. I left shaken, but for all the wrong reasons.
"When we're alone we go downtown" I absolutely loved this movie!
UniqueParticle29 October 2021
Thomsen McKenzie and Anya Taylor Joy are exquisite! Last Night at Soho is brilliant, has one of the best soundtracks ever, and really well made by genius Edgar Wright. I loved the story so much about a girl that wants to be a designer and famous that starts experiencing something very different that I won't spoil anything everything with Alexandria (Anya) is so good. I was very surprised of the old folks that came to the movie, I guess they didn't mind the horror. Very deserving of the 7.6 rating and I'll definitely want to buy when available.
me likey
FeastMode4 November 2021
This is my kind of movie. Very interesting, cool and different. An artistic visual style with good music. Dark in all the right ways. Great performances, especially by thomasin mckenzie. Whatever schtick she was doing was so adorable, made it easy to get emotionally invested in her character.
It's not perfect movie, but i really enjoyed it and look forward to watching it again. (1 viewing, 11/1/2021)
It's not perfect movie, but i really enjoyed it and look forward to watching it again. (1 viewing, 11/1/2021)
I Had SoHo Much Fun With This Film
rgkarim29 October 2021
LIKES:
The Style: Like the poster and trailers, this film was hinted at being a stylish take on the horror genre, and it delivers this in so many ways. Wright leads a wonderful charge into two different time periods of London and make them look so dang fun and stylish to live in. There is energy from two different periods cascading into one story, pulling you into the story of this little play, working you into the life of our main character Ellie. Setting wise, it's an engaging piece that is realistic, dynamic, and engaging to the tale, with almost every place used well int eh story.
The Presentation: The premise as you can see in the trailer is that Ellie is drawn into the past to see and experience the life of Sandy. While this may not be the most unique story we've seen, Wright's style is super intriguing in the transitions, especially in the beginning with how she wound up in the world. The fun aspects of life we see involve some fun use of mirrors and switching perspectives to really get you into the feel, only to then drop us back into the real world moments later. Sandy's impact on Ellie is then later explored and seeing the effects were super fun, and even more so how the later aspects of Sandy's life really start to spring on Ellie. These moments are placed well, and each scene has a life of its own, but yet is integrated into the whole picture to never fell too tangential or overwhelming form how smooth the piece was. I was very surprised by these transitions, and how well used they were given the potential to overdo the gimmick.
The Acting: It's good, a fantastic display of quality acting in the genre where many just kind of bring their B and C game in most movies. Soho's group is strong across multiple fronts, and given the direction, character development, and chemistry was able to bring both worlds to life for me. Thomasin McKenzie is a wonderful lead, innocent and naïve, but holding much beneath the meek mannered persona she starts out with. As the movie continues on, she is pulled into other elements that require drastically going through the spectrum of emotions and bringing the terror out in this role. Anya Taylor-Joy is not quite as vocal or dynamic as McKenzie's role, but dang does she play the past role extraordinarily well in what she was told to do. I can't reveal much, but let's just say that she has a combination of confidence, sex appeal, and artistic presentation to bring the emotions of the 60s era to life. She bounces well in the scenes shared with McKenzie, and the looks she gives speak volumes over the dialogue that other characters were given in this film. Matt Smith has the looks of his counterparts super well, executing the cocky arrogance of the times to an artful degree, and adding the dramatic flair that ties things well together. His looks in the suits, alongside the nonverbal acting, speak volumes and establish the atmosphere he holds, and I can't deny that he elevated a lot of scenes in the beginning to drive the pace and story.
The Pace: A movie like this can be slow given all they try to do, but Soho did not feel long to me at all. Because of the ever changing nature of the film, the smoother transitions, and continued evolution of the mystery continued to move to the end. With little tangential detours and not trying to force messages and politics in my face, Soho managed to keep us on the story and lives of the character helping to move the film to its conclusion with steady steps.
The Characters: So nice to find a horror movie where the characters are much deeper than the usual fodder we get. Like the acting, the characters have a lot of layers and quirks to deal with, never being perfect or overpowered, but rather strong and persistent to overcoming their problems. McKenzie's journey was relevant to me on several elements, and I loved the approaches she took to figure out a lot of the happenings in the two "worlds." This is true for so many of the characters, many of which are used well to progress the story and actually not just be there to be an overdramatized statement. This is definitely true with the character John, who has a lot of great moments in the film without stealing the show the show away from the group. It was great planning and attention to detail that this genre needed very much for me, and I was happy that Soho delivered this.
The Music: Those who like the classics and appreciate the use of music should really enjoy the styles of this film and how much the music moves the scene. What is used for a character development in one scene, suddenly gets turned into a jaunty number of fun and 60s dazzle before dropping into a simple montage piece to express the emotions of Ellie. Other sequences have the setting amplified to wonderful levels, sometimes being creepier than the visual elements presented. And do not worry, Soho has a combination of modern vibes and big band fun to get you into the moment and I had a blast with it.
The Story/Genre: Again, the story is not the most unique or artistic thing I've seen, but what surprises me is how many genres were crammed into this movie. Soho is not simply a horror/thriller as the categories painted, but instead manages to add layers of other components into film to mix things up and help it stand out from most other films in these categories. There are elements of a comedy that work in just seeing Ellie experience life in London, but then drama comes in to help complicate matters and add a realistic portrayal that is not buried in cheesy scares. The drama further elevates in a different manner at parts of the movie, and soon a mystery starts to develop that soon starts to fold into something else. Crime and Thriller elements start to resonate even further, and soon the horror creeps in only for the other elements to peak back in and allow the other genres to rest. You would think it would be convoluted, but instead it's balanced and meshes well to make a twist on life that again is fun to watch and again interesting to solve all the deceptions hiding in the two worlds.
DISLIKES:
Character Utilization: While there are many characters used right, there are others that held more potential and sadly were cut from the final number. The past selves of a couple of the older characters held some potential to add to the mystery, but I can understand the reasons for their limited use. It's the mean girls that plague Emmie's life and I would have loved to see them integrated a little more in the push to get Emmie to continue diving into the world of the 60s London. It's a small complaint, and there are others I'd have liked to foster relationships with, but the stronger relationships work well for me.
The Seedier Moments: You can guess that Soho's neon lights are going to offer many a thrilling dazzle, and some of those moments are going to be portrayed to big details. While I don't suffer from this type of PTSD, I caution those who are sensitive to take heed at the detailed moments of abuse that will be present in this movie. I'm not big on these moments, and fortunately they are lighter, but it only takes one memorable scene to scar your mind so caution.
The Violent Moments: I can't say I really hated these moments, but a couple of the times that got intense crossed the border into savage territory. Again caution to the squeamish and the sensitive to noises because these moments are very loud and sort of hurt my ears as the chaos unfolded. Again, it's a minor dislike, but still one to watch for, alongside the flashing lights if prone to seizures/migraines from this aura.
The Ending To A Degree: When things finally come together, the ending act starts to fall and unravel, with the horror element sort of fizzing out for the dramatic part. I did not hate the ending at all, but after all the buildup, I feel the climactic moment took a direction I was hoping it wouldn't and gotten the true finish worthy of putting everything to a close It's got some symbolic finale with it, a nice job towards the style and character development, but it sort of trips at the end to stumble across the line. And yes, there is some predictability to it, which does lay the foundation for figuring out what will happen in that final moment. And even more so, the special connection Ellie has is left rather unexplained and convenient, and I would have liked that shock factor to have been that connection.
The Verdict: Soho was a stylish surprise for me, that tied back to the classic elements of the horror element and blends multiple genres to make an engaging story. With fun characters, intriguing premises, some realistic lifestyles, and two worlds to balance, Wright brings us a layered tale that should grab a lot of the attention for multiple audiences. Acting continues to shine and some of the characters allow our actors to spread their wings and take thing to deeper levels than the usual thriller/horror cast. A great moving piece with lots of visual and audio components to enjoy Soho has much to check out. True, the character utilization does require some work and tweaking, and there are some intense moments that could hit sensitive viewers, but the main weakness for me is the tripping of the final act to not deliver the full potential that was building up to it. Still, I had fun with this movie and encourage you to check it out if you get the chance in theaters.
My scores are: Drama/Horror/Mystery: 8.5 Movie Overall: 7.5.
The Style: Like the poster and trailers, this film was hinted at being a stylish take on the horror genre, and it delivers this in so many ways. Wright leads a wonderful charge into two different time periods of London and make them look so dang fun and stylish to live in. There is energy from two different periods cascading into one story, pulling you into the story of this little play, working you into the life of our main character Ellie. Setting wise, it's an engaging piece that is realistic, dynamic, and engaging to the tale, with almost every place used well int eh story.
The Presentation: The premise as you can see in the trailer is that Ellie is drawn into the past to see and experience the life of Sandy. While this may not be the most unique story we've seen, Wright's style is super intriguing in the transitions, especially in the beginning with how she wound up in the world. The fun aspects of life we see involve some fun use of mirrors and switching perspectives to really get you into the feel, only to then drop us back into the real world moments later. Sandy's impact on Ellie is then later explored and seeing the effects were super fun, and even more so how the later aspects of Sandy's life really start to spring on Ellie. These moments are placed well, and each scene has a life of its own, but yet is integrated into the whole picture to never fell too tangential or overwhelming form how smooth the piece was. I was very surprised by these transitions, and how well used they were given the potential to overdo the gimmick.
The Acting: It's good, a fantastic display of quality acting in the genre where many just kind of bring their B and C game in most movies. Soho's group is strong across multiple fronts, and given the direction, character development, and chemistry was able to bring both worlds to life for me. Thomasin McKenzie is a wonderful lead, innocent and naïve, but holding much beneath the meek mannered persona she starts out with. As the movie continues on, she is pulled into other elements that require drastically going through the spectrum of emotions and bringing the terror out in this role. Anya Taylor-Joy is not quite as vocal or dynamic as McKenzie's role, but dang does she play the past role extraordinarily well in what she was told to do. I can't reveal much, but let's just say that she has a combination of confidence, sex appeal, and artistic presentation to bring the emotions of the 60s era to life. She bounces well in the scenes shared with McKenzie, and the looks she gives speak volumes over the dialogue that other characters were given in this film. Matt Smith has the looks of his counterparts super well, executing the cocky arrogance of the times to an artful degree, and adding the dramatic flair that ties things well together. His looks in the suits, alongside the nonverbal acting, speak volumes and establish the atmosphere he holds, and I can't deny that he elevated a lot of scenes in the beginning to drive the pace and story.
The Pace: A movie like this can be slow given all they try to do, but Soho did not feel long to me at all. Because of the ever changing nature of the film, the smoother transitions, and continued evolution of the mystery continued to move to the end. With little tangential detours and not trying to force messages and politics in my face, Soho managed to keep us on the story and lives of the character helping to move the film to its conclusion with steady steps.
The Characters: So nice to find a horror movie where the characters are much deeper than the usual fodder we get. Like the acting, the characters have a lot of layers and quirks to deal with, never being perfect or overpowered, but rather strong and persistent to overcoming their problems. McKenzie's journey was relevant to me on several elements, and I loved the approaches she took to figure out a lot of the happenings in the two "worlds." This is true for so many of the characters, many of which are used well to progress the story and actually not just be there to be an overdramatized statement. This is definitely true with the character John, who has a lot of great moments in the film without stealing the show the show away from the group. It was great planning and attention to detail that this genre needed very much for me, and I was happy that Soho delivered this.
The Music: Those who like the classics and appreciate the use of music should really enjoy the styles of this film and how much the music moves the scene. What is used for a character development in one scene, suddenly gets turned into a jaunty number of fun and 60s dazzle before dropping into a simple montage piece to express the emotions of Ellie. Other sequences have the setting amplified to wonderful levels, sometimes being creepier than the visual elements presented. And do not worry, Soho has a combination of modern vibes and big band fun to get you into the moment and I had a blast with it.
The Story/Genre: Again, the story is not the most unique or artistic thing I've seen, but what surprises me is how many genres were crammed into this movie. Soho is not simply a horror/thriller as the categories painted, but instead manages to add layers of other components into film to mix things up and help it stand out from most other films in these categories. There are elements of a comedy that work in just seeing Ellie experience life in London, but then drama comes in to help complicate matters and add a realistic portrayal that is not buried in cheesy scares. The drama further elevates in a different manner at parts of the movie, and soon a mystery starts to develop that soon starts to fold into something else. Crime and Thriller elements start to resonate even further, and soon the horror creeps in only for the other elements to peak back in and allow the other genres to rest. You would think it would be convoluted, but instead it's balanced and meshes well to make a twist on life that again is fun to watch and again interesting to solve all the deceptions hiding in the two worlds.
DISLIKES:
Character Utilization: While there are many characters used right, there are others that held more potential and sadly were cut from the final number. The past selves of a couple of the older characters held some potential to add to the mystery, but I can understand the reasons for their limited use. It's the mean girls that plague Emmie's life and I would have loved to see them integrated a little more in the push to get Emmie to continue diving into the world of the 60s London. It's a small complaint, and there are others I'd have liked to foster relationships with, but the stronger relationships work well for me.
The Seedier Moments: You can guess that Soho's neon lights are going to offer many a thrilling dazzle, and some of those moments are going to be portrayed to big details. While I don't suffer from this type of PTSD, I caution those who are sensitive to take heed at the detailed moments of abuse that will be present in this movie. I'm not big on these moments, and fortunately they are lighter, but it only takes one memorable scene to scar your mind so caution.
The Violent Moments: I can't say I really hated these moments, but a couple of the times that got intense crossed the border into savage territory. Again caution to the squeamish and the sensitive to noises because these moments are very loud and sort of hurt my ears as the chaos unfolded. Again, it's a minor dislike, but still one to watch for, alongside the flashing lights if prone to seizures/migraines from this aura.
The Ending To A Degree: When things finally come together, the ending act starts to fall and unravel, with the horror element sort of fizzing out for the dramatic part. I did not hate the ending at all, but after all the buildup, I feel the climactic moment took a direction I was hoping it wouldn't and gotten the true finish worthy of putting everything to a close It's got some symbolic finale with it, a nice job towards the style and character development, but it sort of trips at the end to stumble across the line. And yes, there is some predictability to it, which does lay the foundation for figuring out what will happen in that final moment. And even more so, the special connection Ellie has is left rather unexplained and convenient, and I would have liked that shock factor to have been that connection.
The Verdict: Soho was a stylish surprise for me, that tied back to the classic elements of the horror element and blends multiple genres to make an engaging story. With fun characters, intriguing premises, some realistic lifestyles, and two worlds to balance, Wright brings us a layered tale that should grab a lot of the attention for multiple audiences. Acting continues to shine and some of the characters allow our actors to spread their wings and take thing to deeper levels than the usual thriller/horror cast. A great moving piece with lots of visual and audio components to enjoy Soho has much to check out. True, the character utilization does require some work and tweaking, and there are some intense moments that could hit sensitive viewers, but the main weakness for me is the tripping of the final act to not deliver the full potential that was building up to it. Still, I had fun with this movie and encourage you to check it out if you get the chance in theaters.
My scores are: Drama/Horror/Mystery: 8.5 Movie Overall: 7.5.
Last Night in Soho
JoBloTheMovieCritic31 October 2021
7/10 - I respect what Edgar Wright and his team were trying to do with this, but I could not help but feel that this story would have been far better served if it were less focused on traditional horror elements and more of a straightforward mystery with flashbacks.
See also
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