Directed by Edgar Wright, Last Night in Soho follows Eloise (Thomasin McKenzie), an aspiring fashion designer who is mysteriously able to enter the 1960s through the body of a dazzling wannabe singer named Sandie (Anya Taylor Joy). However, the glamour is not all it appears to be, and her dreams of the past start to crack and splinter into something far darker.
I have loved most of Edgar Wright’s work over the years so any time he has a new film I am always up for it. However, this was a much different beast compared to Wright’s other works because rather than being another comedy he decided to make a full-on thriller with supernatural elements. I’m always up for directors trying new things and the idea of Edgar Wright making a thriller with his style of filmmaking was really exciting for me. And boy was I right to be excited because this might honestly be Edgar Wright’s best work to date.
Holy fuck is this film incredible on so many levels. In a time where there are many supernatural thrillers around, and you think that there is no way anything original can be made to join the club, here comes Edgar Wright saying “Hold my pint of beer” and delivers an original film that absolutely blew my mind. As always I’m not going to go into any spoilers whatsoever and just discuss non-spoiler details.
We start off with the cast, which is small in comparison to some of Edgar Wright’s previous films but it absolutely packs a punch with the performances, especially from the main lead played Thomasin Mckenzie. From her very first scene, we understand everything to know about her character, from her obsession with the 60s to her passions for fashion, and a past that has greatly affected her life in many ways that she tries to move on from. From that point on we watch as she goes to London and has difficulty settling in, and we really feel attached to her as she seeks comfort in her love of the “swinging 60s,” which she soon gets to experience first hand. Soon she begins to see everything behind the beautiful lights and nostalgic music through the perspective of Sandy and enters a relentless spiral of horror.
Mckenzie had a lot to deliver with this role and she absolutely nailed it, delivering one of the best performances I’ve seen from an actress all year. But she wasn’t the only one that stood out of course. We are also given a firecracker performance from Anya Taylor Joy, who continues to prove herself as one of the best young actresses of our generation.
Every second she appears on screen she absolutely has the attention of everyone, both in the film and the audience. I’m not able to go too in-depth with her character due to significant spoilers but seeing what she ends up enduring in her path to fame in the 60s is more horrifying than any movie monster could deliver.
And speaking of monsters we have Matt Smith’s character Jack, who is probably the sickest motherfucker in this film. Matt Smith was able to perfectly deliver the most hateful piece of shit person you could ever think of, one who perfectly embodies the dark side of the 60s. There are other individuals you will find yourself hating, but out of all of them he is the worst for what he does. It’s why I’m thankful we have a nice balance of light to the dark with a great supporting performance from Michael Ajao as John, who is probably the most kind-hearted character in the film next to McKenzie’s Eloise.
Everyone really delivered their best in this film, which is of course expected from Edgar Wright. The film feels very much like a great Stephen King story that slowly brings you in and absorbs you into all that is happening, and then really gets under your skin with its suspense, both visually and narratively. And the fact it also manages to be so impactful as a thriller really caught me off guard, especially with its mind-bending scenes and surprises. You may think you know what is about to happen in this film but I’m here to tell you that you don’t know shit.
Wright is honestly a god damn genius when it comes to his writing as well as his work behind the camera. The film is visually striking with cinematography that is absolutely off the rails, perfectionist editing, and colorful aesthetics that bring both the glamour and griminess of the 60s to life.
This film oozes Wright’s style but also manages to do some new things that had me absolutely in love with the film from start to finish, especially with the supernatural elements. There’s a lot of visual storytelling as well and excellent use of colors and lighting to not only add to the 60s aesthetic but also show the themes and mood of the film. Wright wants you to feel absorbed into this film and he definitely succeeded on that note. And as you would expect, this film features a banger soundtrack that also adds to the 60s aesthetic and is perfectly woven into the film’s story.
Last Night in Soho is a film no one should miss in theaters. Go see it and support it so Edgar Wright can make more films like this. I’m going to give Last Night in Soho an A+.
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