Last Night in Soho (2021)
Title: Last Night in Soho
Genre: Drama | Horror | Mystery |
Runtime: 116 min
Director: Edgar Wright
Starring: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith
A young girl, who is passionate about fashion design, mysteriously enters the 1960s, where she encounters her idol, a dazzling wannabe singer. But in the 1960s London is not what it seems, and time seems to fall apart with shady consequences.
A TIGHTLY DRIVEN GHOST-STORY
Edgar Wright has a certain cinematic style with his movies. He has been prior to this project done a lot of films combining comedy and violence, most regarding Hot Fuzz, Shaun of the Dead, Baby Driver. These movies show a mediocre plotline with over-the-top violence and a decent performance. Wright’s collection of movies rarely lands perfectly on its feet. Even with its intriguing and mesmerizing storytelling in terms of outstanding performances from Diana Rigg, the strong pursuit of this film was the editing, as it constantly changes between the 60s and the present day.
Thomasin McKenzie takes on the more innocent, inexperienced role during the film and doesn’t really develop and grow by the last act of the film, as you wish and thought this character would. She’s in the same state she was initial of the story just as she’s by the final scene. Anya Taylor-Joy plays Sadie, a more of a voice-less character that takes place in the late 60s. She doesn’t talk or reveal much about herself when trying to get a name in London as an actress or a singer. She’s accompanied by Matt Smith’s character lurking in the shadow, inflicting McKenzie’s character Ellie in the present life.
Michael Ajao, who plays Ellie’s fellow student at the fashion school in London, doesn’t have good chemistry at all. The way he’s written and how his character John is placed in the film and the relation with Ellies feels misplaced. He delivers some horrible jokes and works as a comic-relief character but has no chemistry with the lead character.
There’ are a lot of details that’s easy to forgo and how Ellie’s psyche is enabled to enter the 1960s is not determined in the film. It’s only mentioned by her grandma, and that she has a vision of her dead mother. The integration and the initial first act flow easily forward and the story goes on at a nice pace, even with the portrayal of partying students drinking all the time.
Edgar Wright goes on the timeless era, some music and decent acting combined with some ghost-based storytelling that doesn’t live up to the expectations I once had back since 2019.