User reviews

I understand what Edgar Wright tried to do, but I could not help but feel that this story would have been more intersting if it were less horror focused and more of a straightforward mystery with flashbacks.

His conquered the living dead with nothing more than unwanted vinyl records, alien invaders in small country towns and even managed to wrangle baby drivers but there's no doubt Last Night in Soho is beloved British director and critical darling Edgar Wright's most ambitious film yet and a film that doesn't always reach the lofty goals it sets for itself even if its a beautifully shot and unique thriller mixed with horror elements.

His first film narrative feature film since Baby Driver in 2017, Soho is undoubtedly a labor of love for Wright who produces his most un-Wright feeling film yet, that follows Thomasin McKenzie's country girl fashion designer to London, where her rental of a small bedroom apartment leads her to experience vivid and increasingly frightening visions into the life of a seemingly real London resident of the 60's named Sandie (a mesmerizing Anya Taylor-Joy) creating a very late 60's/70's feeling feature that struggles to keep itself on the rails as the runtime wears on.

Magnificently capturing the time and place of the London era of the setting with help from Old Boy and Handmaiden cinematographer Chung-hoon Chung (delivering Oscar worthy work) and some eclectic and toe tapping concoction of classic tunes from the era that once more suggests Wright is right up there with Quentin Tarantino when it comes to sound-tracking his films and particular scenes, Soho has a lot to admire and for its first 30 to 40 minutes things rollick along at a great pace with a lot of intrigue in what's happening and what's around the corner but the film does get into a mid to late section funk that becomes both repetitive and a little too much to handle narrative wise.

You can see what Wright was trying too do and how he wanted his film to evolve but that doesn't excuse the loop we end up getting stuck in and the sometimes questionable choices that Eloise makes (with some added overacting by a trying hard but not always hitting the mark McKenzie) and while visually and atheistically everything is always of a very high standard, there's a coldness to the story of Soho and it never quite works as well as you'd like as a mystery or a fully fledged horror that it at times appears to be wanting to be.

In amongst all of the narrative let downs and feeling that it never quite hits the marks it sets for itself is the continued great work of Taylor-Joy whose growing into one of the most interesting actors working today, a fairly chilling performance from the usually likable Matt Smith and a central plot that at the very least doesn't play things out in the usual schtick, making Soho far from a complete misfire but nothing more than an intriguing could've been film that I am sure Wright and his fanbase will look back on in days to come as a missed opportunity to create something spectacular.

Final Say -

A film that sets itself a tricky task its never fully able to handle, Last Night in Soho is a high quality feature that can't ever quite juggle its various elements into a final product that feels worthy of its goals.

3 Vesper's out of 5.

Last Night in Soho really had me hypnotized. I feel like that's a comment that will be said by a lot of people, but that's exactly the kind of effect this film has. Edgar Wright brings us a dreamy, groovy ghost story that heavily pays tribute to Suspiria, along with other film classics from the 60s and 70s. Being Britain's top film junkie, Edgar Wright can get a hold of a camera and make it seem like you're walking into a video store at full blast. His love of this specific genre of horror is just gushing here. His love of music is also as romantic as ever. Music plays just as important of a role here as it did in Baby Driver, even if the songs aren't full-on characters of their own. Mackenzie and Taylor-Joy carry this film fully on their shoulders, and by God, do they rock it. I've been incredibly impressed with Thomasin Mackenzie since Jojo Rabbit, and if this film doesn't rocket her career all the way to the top, nothing will. There's so much to love about this movie. It's a trace. No, it's a trip.

From the writer-director of Three Flavours Cornetto trilogy comes a stylishly crafted, smartly photographed & skilfully acted psychological horror that's swirling with nostalgia & affection for the Swinging Sixties. Last Night in Soho attempts to capture the dangers of romanticising the past while showcasing the dark side of show business only to throw it all away in the end.

Co-written & directed by Edgar Wright (Scott Pilgrim & Baby Driver), the first hour is carried out rather well with steady build-up and deft juggling of drama & mystery but the story also falls flat once it enters the third & final act. The horror elements don't pack a thrilling punch either, offering nothing new or effective. As for the script, the writing is substandard at best and required more polish.

The camera also exhibits restraint in its manoeuvring which is unusual for a Wright film but that doesn't mean it's lacking creativity, for it still packs some neat techniques & ingenious tricks. Editing is inconsistent with the narrative flow & pacing while the music brims with 1960s flavours. Thomasin McKenzie & Anya Taylor-Joy contribute with splendid performances and are finely supported by the rest of the cast.

Overall, Last Night in Soho is visually striking and has no trouble whatsoever in transporting its viewers to a bygone era but it also runs out of ideas as it nears its conclusion and settles for an insipid ending. The film does impress in bits n pieces, especially with its neon-bathed visuals, meticulous production design & clever camerawork, but it doesn't amount to a lot in the end. In short, Edgar Wright's latest is amongst his weakest.

I went on an Edgar Wright binge during lockdown, half just to see them again and half with an eye on the fact that "Last Night in Soho" was due out when the lockdown lifted. Though I generally would say that I liked the film, unfortunately I felt the conclusion let it down.

Eloise (Thomasin McKenzie) moves from Cornwall to London to become a fashion designer. Obsessed with 1960's culture, she struggles to make friends and leaves the halls of residence for a flat in a house owned by Ms Collins (Diana Rigg). On her first night, she dreams about Sandie (Anya Taylor-Joy) a singer who came to Soho in the 1960's and who fell in with Jack (Matt Smith). As the dreams mix with reality, Eloise comes to question her sanity, what happened to Sandie and who the silver haired gentleman (Terence Stamp) hanging around the city might be.

The stuff that I admired most about the film were related to the performances and to Edgar Wright's direction. There is some very clever work done during the dream/haunting sequences to relay that the characters of Eloise and Sandie are both living the same life and the Eloise is watching it from a distance. There's a dance scene, which is very cleverly choreographed so that both characters can dance with Jack without cutting away. Anya Taylor-Joy really can do anything and make it compelling but as a Giallo-esque femme fetale / victim she's at her most arresting. Smith is a convincing charming heavy though he doesn't feature in the film as much as the girls. Thomasin McKenzie carries an excellent Cornishy accent through the film, and keeps Eloise likable, even when she becomes overwhelmed.

But... I'm not convinced that the story matches up with the talent elsewhere. I don't think the film makes as much sense as it thinks it does, in its conclusion. (Sorry if that sounds vague, bit I'm trying to write without spoilers). Its twist is relatively easy to see coming, though some of the dialogue details from earlier in the film hit differently once you know. I also don't think it's particularly scary, and the "ghosts" in the film aren't an especially well-done effect.

Overall, I enjoyed my time with the film but I can't help and think of it as a missed opportunity for something truly special.

What if Hitchcock an Dario Argento had a nephew that loved Agatha Christie novels? That's the premise of the film's aesthetics and I found especially the first half of the film to be really captivating. Anya Taylor Joy's first scene especially was really masterfully crafted. The leading actress was also impeccable.

Nevertheless as the film's story built up steam for a climax, the choice of a particularly ugly CGI and some pointless jump-scares started putting me off. The writing became over the top by the end, but at least it all made sense eventually. Thankfully it maintained a steady coolness, with great music and solid acting, and beautiful costumes and scenery. While the nonsense put off some of my "film buff" friends, I found it consistently entertaining, and a fun time at the movies.

I saw this at a late night screening, at Athens International Film Festival. The hour, the crowd and the vibe really helped the movie experience for me. I recommend it, if you don't get in with high expectations.

Cornish fashion student Eloise moves into a room of an elderly lady's home, when she's there she's able to consciously move back to the 1960's, and see the life of a beautiful young woman.

It took me a little time to get into it, and understand exactly what was going on, but overall, I thought this was a rather excellent film.

It builds and changes pace as it progresses, moving from a suspense intrigue story, into a horror thriller conclusion. You'll need to be concentrating, or you'll miss what's going on.

Diana Rigg, the legend, much missed, was the standout for me, (when wasn't she!) putting in a phenomenal performance, credit to Thomasin McKenzie too, she did a great job, the only person for me who was a little cringey at times, was Matt Smith, maybe not his finest moment.

Two scenes stood out for me, the epic conclusion, loved that, some terrific acting, and as reveals go, this was big, and the scene in the library, that was really freaky.

Beautifully stylish and atmospheric, if you love the 1960's as I do, you'll appreciate the fashions, you'll love the music, overall it's a visual feast.

Highly recommended 8/10.

I was captivated by the premise of the film, as seen in the trailers, but unfortunately the film falls flat after the halfway mark. The direction is superb, the acting worthy of praise, and the 1960s soundtrack a fabulous touch; however, the plot (although not complicated) is more complex than it needs to be: trying to be more clever than it actually is, particularly in the final act.

The main character, whose story and experiences we follow, starts out as unique and captivating, standing in stark contrast to the world around her - which creates some interesting conflicts; however, by the end of the film she loses this edge and (perhaps intentionally) is indistinguishable from the world around her.

Additionally, it was lovely to see Dame Diana Rigg on the big screen one last time, but it's a shame that this was to be her final role.

Last Night in Soho is a thoroughly decent film, but is disappointing in light of the creative flair promised in the trailers.

Not sure what to say without spoilers, but it's very unique thriller, something i haven't seen in a while in movies. I would even go as far and say it's one of the best movies of 2021. Highly recommending.

This film should have been good and I really wanted to like it. The positives - it looks absolutely great visually and showcases some high quality film making. Good shots, nice effects and mostly decent acting. In terms of British horror, there really isn't that much on offer elsewhere, outside of the very low budget, so this was refreshing to see. That's where the positives end for me.

Now for the negatives - the plot just didn't do it for me unfortunately. It actually became nonsensical, even for me, who often enjoys the 'far out' type of sci-fi/psychological stuff. The genre of this film seemed confused too - it starts out like a family friendly film, then becomes a teen drama, goes a bit sci-fi/fantasy and then descends into horror and gore. It seemed a bit all over the place and was quite the experience - the soundtrack and constant 60's music started to do my head in as time went on. The lead character wasn't doing it for me either - her accent and voice was very meek and watching somebody portray a character with zero confidence or social skills was rather tiresome. After enduring an hour of this and still realising there was another hour to go, I had to take a break and almost didn't come back, which is never a good sign - however, I was intrigued to know where this was all going and needed to see the end.

I made it through and the finale/pay off was disappointing and just seemed silly - yep, there's a big twist but it's not really satisfying and just adds to the nonsensical nature of the film.

Lastly (without giving away spoilers) there's no way, if this were reality, that the lead character wouldn't have been sectioned under the mental health act for her behavior and the things she did throughout this ordeal. I'll leave it there.

A very generous 6/10 and I'm only giving the just above average score due to the massive effort that obviously went into writing, filming and producing this movie - it looked very polished and visually pleasing, with a lot of attention to detail. There's also not much out there, in the British film market, to compare this with so I'll also give credit for the uniqueness and effort to bring something a bit different to the table. I'd in no way discourage anyone from watching this as you might love it (like others in the reviews did). It just wasn't for me unfortunately.

Edgar Wright seems to polarize with this movie. Although generally speaking the majority seem to love this as much as I did. Or in similar fashion - no pun intended. And for a genre movie it starts off ... well off (weird). You don't get a shocker, quite the opposite it starts off with a music number/dancing. Which makes sense when you think about it in hindsight and still sets a tone for the viewer - even if not one that is as menacing as the movie becomes later on.

Technically speaking the movie is impeccable. Anyone arguing differently surely has not seen far lesser movies produced than this and is probably blinded by the fact they don't like the movie. Which is more than fine, just don't let your dislike turn into a general bashing. One does not have to like a movie that is well made. We have different tastes and that is a good thing.

There are things that depending on how you view things, may feel like flaws or things the movie did not get right. Like the moral ambiguity or the love interest. The latter may feel a bit one dimensional, but ask yourself this: how many female love interests have been played or rather written the exact same way? So this is nothing unusual - unless you count the gender swap for who is playing the gullible and way too nice person to be real ... having said that, again that may not be enough to sway you to like the movie or the characters.

And the moral issues the movie displays including an ending that some may not be entirely left satisfied with (character choices and so much more) - with many unanswered questions ... on the other hand, some things are better left without an answer, so we as viewers can fill in the blanks.

Stylish and probably with quite a few in-camera effects (I imagine certain tricks were used to avoid a higher special effects cost, but I may be wrong), this movie has a few exquisite jump scares and a really good story as a backbone. Oh and before I forget, a great cast. It has been ages since I last saw Terence Stamp on the big screen ... Covid aside of course.

Anyway, really good genre movie by a director who knows what he wants - for an audience who mostly seems to appreciate it.

Holy smoke what a waste! The actors are all talented, the art direction, sets, costumes, soundtrack are great.

But the second half of this is just the most juvenile simplistic and trope filled junk.

This is another covid era film that looks to be, due to delays, got over- tweeked to bad result.

This movie had me hooked from the beginning. The vibe of the neon, eerily upbeat 60s music, and intense cinematography, is unmatched. Acting was decent and the storyline unpredictable (at least to me). A well made movie that haunts, not scares.

The first half of this movie was fantastic. The set-up, acting, visuals, soundtrack, just phenomenal. I wish they kept it as the mystery/thriller with supernatural elements it began with, because once it attempts to delve into horror it becomes painful to watch at times.

The second half becomes so messy and repetive. It's the main character freaking out over the same horror elements/tropes over and over again, repeating the same "horrified" expression. The tension they were trying to build fell apart, to the point I was counting down the seconds for the scene to end. The twist I could see coming a mile away, but the reveal all the same was rushed and just poorly executed.

Anya Tayla-Joy and Matt Smith are spectacular in this movie, Thomasin McKenzie's performance is uneven and over the top at times.

Overall, 10/10 first half, 3/10 second half. Should really be a 5/10 rating but the start was just so good I gave it an extra point.

Greetings again from the darkness. Every once in a while a movie captures that magic feeling of being swept away, and this wild film from writer-director Edgar Wright and co-writer Kristy Wilson-Cairns (1917) did just that for me. This is my kind of psychological-horror-thriller and with the exception of one sequence that went a bit too "slasher" for my tastes, I had a blast watching it. I'll admit that, while also acknowledging more people will probably not enjoy this, than will. But for those who do, I feel confident they will share my enthusiasm.

Eloise (Thomasin McKenzie, JOJO RABBIT, 2019) opens the film by expressively dancing to Peter & Gordon's "A World Without Love" while sporting a self-designed dress made of perfectly creased newspaper. Her room is filled with 1960's colors and memorabilia and we soon learn she's an orphan raised by her grandmother (Rita Tushingham, A TASTE OF HONEY, 1961). Eloise, or Ellie as she's called, dreams of following her mother's path to London, and is thrilled beyond measure when her acceptance letter arrives from the London School of Fashion. Ellie does carry the burden (and visions) of her mother's mental illness, and her grandmother warns, "London can be a lot." Small town (Cornwall) Ellie with her timidity and wide-eyed innocence arrives in London and is immediately the target of 'mean girl' and fellow student Jocasta (Synnove Karlsen). Rather than subject herself to the abuse, Ellie sublets an attic room from an old lady landlord named Mrs. Collins (the last screen appearance for the great Diana Rigg). Ellie loves the room and her independence, but her dreams act as a portal back to those swinging 60's of which she's so fond. But that's only the beginning. It's here where she follows/becomes Sandie (Anya Taylor-Joy), and the mirror effects are truly other-worldly. Sandie is everything that Ellie wishes she was herself - confident, radiant, ambitious, and beautiful. This dream state allows Ellie to live vicariously through Sandie. At least initially.

The Ellie-Sandie sequences mess with your head in a wonderful way. Sandie seems to float across the club's dance floor, and Ellie is mesmerized at first, before turning protective. The tone shifts when Sandie meets sleazy Jack (Matt Smith), a would-be agent who promises to get Sandie the shot at stardom she desires. This leads to ATJ's amazing and breathy version of Petula Clark's "Downtown". It's a standalone highlight of the film, and a moment that shifts the story yet again. If you are struggling to keep pace, you're not alone.

Soho's glamour is matched only by its grunge. The recurring dreams turn to nightmares, so that even Ellie's waking hours are surreal. A mysterious elderly gent played by Terence Stamp may be the key to the mystery Ellie's so busy trying to solve that she is oblivious to the romantic overtures by nice guy John (Michael Ajao). The nostalgia of the 60's provides a visual treat with the Café de Paris, a massive theater marquee advertising James Bond's THUNDERBALL, and Cilla Black's "You're My World".

Filmmaker Wright gives us so much to discuss, but it's crucial that the best parts not be spoiled. Just know that Oscar winner Steven Price (GRAVITY, 2013) provides an incredible mix of music, while Chung-Hoon Chung's cinematography, Marcus Rowland's Production Design, and Odile Dicks-Mireaux's costumes all nearly steal the show. But of course, that can't possibly happen thanks to the stupendous performances from Anya Taylor-Joy and (especially) Thomasin McKenzie. These are two of the finest young actors working today, and we will be fortunate to watch their careers develop.

Edgar Wright is having quite a year. He's already delivered the terrific documentary, THE SPARKS BROTHERS, and now comes what is his best work yet. You may know his work on BABY DRIVER (2017) or the Three Flavours Cornetto trilogy that kicked off with SHAUN OF THE DEAD (2004). Here, he playfully bounces between genres serving up time travel, a murder mystery, the Soho history, a memorable soundtrack, surreal dream and ghost sequences, a touch of romance, and that previously mentioned 'slasher' scene. A final tip of the cap to Diana Rigg, whose career spanned her role as Emma Peel in "The Avengers" (from the 60's), her time as a Bond girl in ON HER MAJESTY'S SECRET SERVICE (1969), and ultimately as Olenna Tyrell in "Game of Thrones".

Opens in theaters on October 29, 2021.

Great music and visuals do not quite make up for 2nd rate acting and probably a twist too far. Really wanted to like this film and enjoyed the first half but found the very dark second half a bit disappointing.

I'm not gonna write any spoilers here, but this movie is a must see for anyone who loves 60's Giallo-styled movies and here is why...

The three pillars that carry this movie are: great acting, killer music and an amazing cinematography

My only point of critique would be the storyline. There are a few minor plotholes and at some point the movie was starting to lose me as a viewer. It became a bit too much of a psychological thriller. Luckily, things got turned around just in time to leave me satisfied in the end. It isn't easy to explain this without giving away spoilers, so I guess you'd have to watch it for yourself.

This movie turned out to be a cinematographic marble and I wasn't expecting this at all. It's made by the same guy who directed Baby Driver and it shows. Both these movies have great acting and a killer soundtrack in common.

Extra bonus points for Anya Taylor-Joy (that girl from the Queen's Gambit). She was amazing as a 60's persona. I really got Audrey Hepburn-vibes from her and that's not a compliment to give lightly.

There's a solid giallo-esque thriller inside this lumbering mess of a film. Director Edgar Wright has style yo spare, bathing this nightmarish London in neon lights that exude both danger and glamor. The re-creations of Swinging London in the flashbacks are also impressive, clearly crafted down to the last detail. Too bad the story sucks.

This is one of those films where the main character is hysterical and naive, and while this is meant to be endearing and sympathetic, I was done with her within the first half hour. The other characters are all flat, from the too good to be true love interest to the twist villain.

Worst of all is how repetitive the middle of the movie is. Ellie is constantly bombarded by visions of vile men, their hands groping at her (is this an homage to Polanski's REPULSION or plagiarism?). It's initially creepy-- then it just becomes rote and boring and overblown.

Maybe if this were an 80 minute movie with 95% less CG ghosts, we'd actually have something manageable. Not good necessarily, but certainly more enjoyable.