Review in Brief: Last Night in Soho (2021)

Edgar Wright’s latest is another dazzling, musically-lead genre cocktail that might not feel quite as singular as BABY DRIVER but still demonstrates that he is the best there is at this sort of thing. Thomasin McKenzie is Eloise, a fashion student in Soho with an obsession with all things 1960s who mysteriously travels back to her favourite decade in her sleep to witness glamour give way to sinister events connected to Sandie (Anya Taylor-Joy) and Jack (Matt Smith). Despite a (mostly) intentionally messy Giallo-inspired final stretch, LAST NIGHT IN SOHO is certainly more a psychological thriller than an outright horror, exploring sexual politics and the grimy truth behind showbiz through the prism of fractured perception, courtesy of a twisty script by Wright and Krysty Wilson-Cairns. McKenzie and Taylor-Joy are wonderful and we get great turns from Terence Stamp and Diana Rigg (RIP) too, all tied together in an atmospheric, sonically and visually sumptuous work. SSP

About Sam Sewell-Peterson

Writer and film fanatic fond of black comedies, sci-fi, animation and films about dysfunctional families.
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