Universal Pictures presents the film in UK cinemas from 29th October 2021.
Synopsis
Eloise, an aspiring fashion designer, is mysteriously able to enter the 1960s where she encounters a dazzling wannabe singer, Sandie. 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.
Review
Edgar Wright is by no means a director who can be classed a predictable. The mastermind behind Hot Fuzz and Baby Driver has, in recent years, begun to experiment with different genres. Last Night In Soho is a direct consequence of Wright’s experimentation and whilst it doesn’t wholly satisfy either the horror or comedy genres, it sits in a satisfying sweet spot between the two.
It’s easy to point at the first act of Last Night In Soho as a masterpiece of setup. The film, co-written with Krysty Wilson-Cairns, beautifully walks the tightrope between genres. It sets up two whole worlds of beautifully designed characters with strong delineation between the present and the past/fantasy. It also utilises both leads, Thomasin McKenzie and Anya Taylor-Joy, masterfully. Each inhabits their own specific view of London’s infamous Soho with both bringing it to life in unique and enticing ways.
Eloise (McKenzie) is a captivating character and by no means a parody of any contemporary trend. Her fascination with 1960’s culture feeds in perfectly to her aspirations of becoming a fashion designer. They also play a key role in connecting her with her mother and grandmother. Her eclectic tastes feel neither contrived nor hollow thanks to the warmth and liveability of Thomasin McKenzie.
There’s a very matter-of-fact feel to Eloise’s ability to see ghosts, in particular her mother. Despite committing suicide years earlier following a battle with mental health, she’s ever present in Eloise’s life and instrumental in her decision to move to London. That journey, which takes her from sleep and picturesque Cornwall, will feel familiar to many of us who has moved to a large city. In this respect Last Night In Soho is both a love-letter to London and a cautionary tale.
She quickly realises that London isn’t the yellow brick road it might first appear to be. She struggles to settle in to dormitory life in her early weeks of university. Another aspect of her journey with which many of us can identify. All of which leads her to finding a room to rent in a house owned by the strict Miss Collins (Diana Rigg). It’s here that Eloise’s connection to the past pulls her back to the world of aspiring singer, Sandy (Anya Taylor-Joy).
Sandy represents everything which Eloise is not at this stage in her life. She’s outgoing, confident and self-assured to the point of cocky. All traits which Taylor-Joy carries off flawlessly in what is an award-worthy performance. Through a series of visions the two become intrinsically linked as Eloise experiences Sandy’s past. But here is where Last Night In Soho deviated from expectation. The two are less connected than I had anticipated. Eloise acts as more of an observer than inhabiting Sandy’s life. Those mirror shots in the trailer certainly had me fooled.
The cracks soon begin to appear in Sandy’s life. Her journey to fame and fortune, mirroring Eloise’s journey as a fashion designer, is paved will anything but good intentions. Her “manager,” Jack (Matt Smith), persuades her in to prostitution in return for advancing her career. As a Doctor Who fan, this was a new side of Smith for me. Once which is deplorable but well realised from script-to-screen.
Through the second act Sandy’s downfall proves to also be that of Eloise. The script plays in to the past issues of her mother making those around her think she is also suffering from mental illness. Her connections to the present are weak at best. She often ignores those who reach out to her with genuine care. One of those is John (Michael Ajao). Michael and Eloise flirt with forming a real connection, but her unease to trust consistently gets in the way. When they do finally connect it comes at a price and shows a different side to the wily Miss Collins.
At this stage Last Night In Soho being to coalesce but also comes off the tracks. For me the third act feels like a race to the finish line. There’s a consistent level of escalation which refuses to relent even when it becomes a little too much. There are some big twists, one of which is entirely predictable but still rewarding. The other, which feels HEAVILY sign-posted by the film’s marketing, turns out to be a huge fake out and defining moment in Eloise’s journey. These moments do cement Last Night In Soho as a memorable cinematic experience. But they don’t necessarily serve the narrative, which started so strongly, to form a perfect landing.
There are moments of light relief scattered throughout the narrative. These moments play well to Wright’s comedy roots and break up what could otherwise be a difficult story. When it leans in to more horror-inspired elements Last Night In Soho doesn’t quite fully commit to the cause. A particular vision, seen like a reflect on Eloise’s bedroom ceiling, is disturbing and warrants the film’s high rating. But it is also an isolated moment which earns the film its horror tag.
Verdict
Last Night In Soho is a beautiful experiment with genre from Edgar Wright. Outstanding casting bolsters a slightly muddled narrative with Thomasin McKenzie and Anya Taylor-Joy both giving Oscar-worthy performances.
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