A throwback horror film is probably not the first thing you would expect Edgar Wright to make off the back of a box-office smash like Baby Driver, yet that is exactly what he has done with new film Last Night in Soho. A throwback to Soho during the 60’s and all that went on during that seemingly glitzy and glamorous time, Wright’s latest packs a walloping psychological punch; a slow burn mystery that oozes style and hums with energy on the way to a bloody conclusion. While the third act might devolve into some lacklustre genre tropes, a pair of towering performances from Thomasin McKenzie and Anya Taylor-Joy ensure that things never fly too far off the rails.
McKenzie plays Ellie, a young girl obsessed with the 60’s – the fashion, the music, you name it – and who dreams of travelling to the bright lights of London to make it as a fashion designer, accepting a place at the prestigious London College of Fashion. Once there, Ellie finds that the London lifestyle is harder than she thought, trading student housing for a top floor room owned by the cantankerous Ms Collins (Diana Rigg in her final performance) to escape her cruel peers. When Ellie heads to sleep in the room however, she finds that she has acquired more than she bargained for; transported back in time to the 60’s she longs for as she follows the mysterious yet captivating Sandie (Taylor-Joy), a wide-eyed girl with dreams of being a superstar singer. As Ellie follows Sandie further and further into the bright lights of Soho, she discovers a darker side to the town; one that may have captured Sandie and now threatens to destroy Ellie.
This being an Edgar Wright film, the story of Eloise and Sandy isn’t as straightforward as it might seem. Wright takes his time establishing the characters in both present day and 60’s London, letting the sights and sounds of the city wash over you until you feel comfortable before slowly unravelling his mystery. That mystery plays less like a conventional horror – largely eschewing jump scares (save for a couple of great ones) and an overly creepy tone – and more like a psychological thriller, as Eloise loses her grip on her sanity the further she wades into Sandie’s story. This is a story about women reclaiming their narrative and (without spoiling things) Wright largely lets the dark underbelly of the time period Eloise romanticises become the horror – no movie trickery necessary for the most part. It’s an experience that can be deeply unsettling at times as the grotty, gross reality of Sandie’s situation becomes apparent but one that is rarely very scary in its own right.
As Wright’s deeply original (so far) mystery waltzes towards its inevitable third act extravaganza it takes an unfortunate turn into genre trappings, relying on some fairly stock standard thriller tropes to wrap everything up with a neat little bow. It isn’t a huge issue, especially given the stellar filmmaking on display in the lead-up to this, but the fact that it doesn’t quite stick the landing in a way as unique as the rest of the film is somewhat disheartening. This is also where Wright’s message is at its muddiest; a commentary on women and the hardships they endure that strangely (again without spoiling things) seems to switch sides for a moment. It isn’t so much an expectation subversion as it is a device to strengthen Eloise’s character but in the moment this brief but confusing twist almost derails the entire story, with only the goodwill we have towards Thomasin McKenzie’s character pulling us back on-board for the final stretch.
Where Last Night in Soho shines brightest is undoubtedly in the careful consideration Wright has so obviously put into every frame. He clearly holds the time period in high regard and it shows in every facet, from the punchy, hit-filled soundtrack to the immaculate costuming that perfectly invokes what we all think of those “swinging sixties”. In fact it might just be the most beautiful looking film of the year; a visual delight that sparkles in every scene, from the carefully executed neon lighting which indicates transitioning between time periods to the intricate, old-school camera techniques perfectly prepared to allow you to appreciate every element of the pristine production design.
Helping to bring that visually lush world to life are knockout performances across the board: Matt Smith is at his smarmy best as despicable conman Jack, Terrence Stamp shows up to play a similarly despicable present-day pub regular and Diana Rigg is unsurprisingly excellent in her final on-screen role. But the main event here are McKenzie and Taylor-Joy, delivering a pair of performances that perfectly complement each other. Taylor-Joy’s Sandie is everything Eloise wants to be – effortlessly chic and confident – and through her experience following her, Eloise slowly develops her own confidence, never losing the rigid moral compass she journeyed to London with where Sandie’s may waver. The sheer physicality of the roles should also be mentioned, each actress perfectly mimicking each other through a variety of mirror shots and CG trickery to establish the illusion of living a shared experience.
Last Night in Soho is a fantastic tribute to a time period Edgar Wright clearly adores, wrapped up in a mostly compelling murder mystery. The horror elements may take a backseat to the dedication to perfectly encapsulating the 60’s, and the message is muddied in the need to wrap things up quickly but this is still an immensely enjoyable, if somewhat predictable entry in Edgar Wright’s filmography, not to mention the best looking. Whether you have an affinity for Soho or not, once you’ve visited the vibrant world Wright has created here once, it’s unlikely to be the last night you’ll want to spend there.
Last Night in Soho stars Thomasin McKenzie, Any Taylor-Joy, Matt Smith, Terence Stamp, Rita Tushingham, Michael Ajao, Synnove Karlsen & Diana Rigg – In Australian cinemas now and streaming on-demand in the US.