Last Night in Soho (2021) - SPOILER-FREE Review
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Directed by: Edgar Wright
Written by: Edgar Wright, Krysty Wilson-Cairns
Starring: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Terence Stamp, Diana Rigg
Runtime: 116 min
Synopsis: Eloise (Thomasin McKenzie), an aspiring fashion designer, is mysteriously able to enter the 1960s where she encounters a dazzling wannabe singer, Sandie (Anya Taylor-Joy). But the glamour is not all it appears to be and the dreams of the past start to crack and splinter into something far darker.
Edgar Wright gained a considerable fandom throughout his career. The Three Flavours Cornetto trilogy and Scott Pilgrim vs. the World remain his most beloved works, but Baby Driver is also a fan-favorite. His kinetic energy, distinct editing style, and use of popular music became trademarks that not everyone appreciates, but fortunately, I stand on the positive side of the overall critique. Last Night in Soho is his first horror flick since Shaun of the Dead, and this time, Wright follows the psychological subgenre, one of my personal favorites.
I knew nothing about the film, which may or may not have influenced what I believe to be the best aspect of the movie. Screenwriters Wright and Krysty Wilson-Cairns (1917) create an intriguing premise that grabs the viewers' attention almost immediately, and it stays astonishingly captivating until the very last second. The first act establishes the shy, introverted yet ambitious, wannabe fashion designer Eloise "Ellie" Turner, who possesses a mysterious "gift" that allows her to connect with the past, specifically by visiting 1960s London.
First of all, Thomasin McKenzie (Old) delivers a fantastic performance. The actress stepped into stardom a few years ago, and she proves now that leading one of the most anticipated films of the year also belongs to her list of skills. Her character's "visions" or "dreams" follow a crazy path of exponentially weirder, puzzling nights in 60s Soho, which asks McKenzie a lot of expressive displays that she manages to pull off.
In these nights, Ellie becomes Sandie, an aspiring singer beautifully and hauntingly portrayed by Anya Taylor-Joy (The New Mutants). Besides proving once again that an Oscar win is only a matter of time, the actress demonstrates her exceptional singing and dancing abilities. In fact, one of the best sequences of the whole movie is a dance scene with McKenzie, Taylor-Joy, and Matt Smith (His House), where the actresses switch places with each other either off-camera or with the aid of remarkable VFX. A technically magnificent moment.
Regarding the rest of the cast, Terence Stamp (His Dark Materials) offers his experience to play a somewhat scary-looking old man who seems to be hiding something, but Diana Rigg deserves the ultimate shoutout. The film begins with a "For Diana" title card in memory of her recent death, which only becomes sadder when people remember the number of iconic characters she played over her career. From a James Bond wife to Olenna Tyrell in Game of Thrones, the actress delivers one final performance - interpreting Ms. Collins, Ellie's rigorous landlady - that audiences won't forget that soon.
Story-wise, as I mentioned above, Wright and Wilson-Cairns build a pretty interesting narrative. I found Wright's usually dynamic rhythm slightly restrained for the first two acts, which surprisingly worked in favor of the movie. The screenplay feels tightly structured, but a few problems arise when the knots start to be untied. The third act can't be described in any other way besides insane. Wright truly goes all-in during the last twenty to thirty minutes, which having in mind the steady first two acts, it feels unbreathable at times.
Narratively, its unexpected twists and turns surprisingly make sense when everything's put together. There are many revelations and shocking plot points that might feel overwhelming and confusing at first, but after a good night's sleep, I really can't fault the story elements. However, from a technical standpoint, it gets strangely messy and way too fast-paced. From the extremely agitated editing (Paul Machliss) to the repetitive sequences with dull ghosts, it almost feels like this act belongs to another version of the film.
Machliss' editing is seamless throughout the first two acts, and Chung Chung-hoon's cinematography looks stunning in a gorgeous-looking 60s London (production design by Marcus Rowland). Steven Price's music feels extraordinarily adequate to the time period, and it plays an impactful role in the movie by elevating some character-defining moments and important plot points. Part of these excellent technical attributes persist in the final act, but the incomprehensible, abrupt need to quickly close every arc in a restless manner proves to be highly damaging.
Final Thoughts
Last Night in Soho is incredibly captivating throughout the entire runtime, but Edgar Wright's all-in in the insane third act is definitely going to generate a divisive response. Story-wise, the compelling protagonists - brilliantly interpreted by Thomasin McKenzie and Anya Taylor-Joy - follow intriguing arcs holding unexpected revelations that ultimately make sense with the overall narrative. Stunning cinematography and production design come together to create a visually jaw-dropping 1960s London, which becomes an even more entertaining place to visit due to Steve Price's addictive music. However, the last act feels a sudden hurry to tie every knot through overwhelming editing, hasty pacing, and careless transitions, which work against what the film had been until that point. I commend Wright's commitment and extreme dedication to his vision, but the restraint shown previously should have also been part of the conclusion.
