I watched Last Night in Soho and I liked it. 3.5/5
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Edgar Wright’s “Last Night in Soho” takes us on a hypnotic journey through the neon-lit streets of London, where dreams and nightmares intertwine. Released in 2021, this psychological thriller weaves together elements of horror, suspense, and time-bending narrative to create a visually striking cinematic experience.
The film centers around Eloise, played by the talented Thomasin McKenzie, an aspiring fashion designer with a penchant for vintage styles. Transported back in time to the 1960s, she inhabits the life of aspiring singer Sandy, portrayed by the enigmatic Anya Taylor-Joy. As Eloise’s dream-like experiences grow increasingly haunting, the boundaries between past and present blur, unraveling a dark secret that ties them together.
Visually, “Last Night in Soho” is a feast for the eyes. Wright, along with cinematographer Chung-hoon Chung, crafts a vivid and stylized portrayal of both eras. The swinging ’60s burst with vibrant colors, mod fashion, and the energetic pulse of the time. In contrast, Eloise’s contemporary London is tinged with an eerie, almost otherworldly atmosphere, reflecting the film’s descent into psychological horror.
Thomasin McKenzie delivers a standout performance as Eloise. Her portrayal of a young woman caught between reality and hallucination is both vulnerable and compelling. As she navigates the labyrinthine streets of Soho, McKenzie anchors the film with her emotional depth and unwavering presence.
Anya Taylor-Joy shines as the magnetic Sandy. Her on-screen charisma and haunting beauty capture the essence of a ’60s starlet, drawing the audience deeper into the mystique of that era. Through Taylor-Joy’s captivating performance, Sandy becomes a figure of both fascination and foreboding.
The supporting cast also delivers commendable performances. Matt Smith, as the enigmatic Jack, exudes an air of mystery and charm, adding complexity to the narrative. Diana Rigg, in her final film role, brings gravitas and a touch of eerie wisdom to her character, Miss Collins.
Where “Last Night in Soho” falters is in its narrative execution. The film’s intricate plot, while ambitious, occasionally stumbles in its attempts to balance its dual timelines. At times, the transitions between Eloise’s reality and Sandy’s past feel abrupt, leading to moments of narrative dissonance.
Additionally, the film’s final act ventures into more conventional horror territory, potentially alienating viewers expecting a strictly psychological thriller. While the shift in tone provides visceral thrills, it may not fully align with the film’s earlier, more subtle atmospheric tension.
One of the film’s notable strengths lies in its exploration of nostalgia and the allure of the past. Eloise’s infatuation with the ’60s is palpable, reflecting a universal yearning for a time and place beyond one’s own. This sentiment is beautifully encapsulated in the film’s tagline: “Dazzling lights. Spellbinding city. Do you believe in an afterlife?”
“Last Night in Soho” also delves into deeper themes of trauma, identity, and the darkness that lurks beneath the surface of glamour. As Eloise unravels the enigma of Sandy’s life, the film confronts the shadows that haunt us, both individually and collectively.
In conclusion, “Last Night in Soho” is a visually arresting and thematically rich exploration of dreams, illusions, and the seductive power of the past. While its narrative complexities may occasionally veer into convolution, the film’s stellar performances, striking visuals, and evocative atmosphere make it a noteworthy addition to Edgar Wright’s oeuvre. For those seeking a mind-bending journey through the heart of London, “Last Night in Soho” delivers a compelling, if occasionally bewildering, experience. With its blend of style, substance, and supernatural intrigue, it earns a solid 3.5 out of 5 stars.