A visually spectacular attempt at feminist horror that just misses the mark
Edgar Wright's trademarks are here in this film, but the characters don't feel like they have his usual style or charm. A visually clever and arresting film that is more interested in how it looks than why we should care.
Reader Rating0 Votes
The ingenious editing and visual storytelling is a delight
There's a soundtrack here that is built for nostalgia and quality.
The acting is, for the most part, great. Some real standouts lie in secondary characters.
The fetishisation of the sex worker plot-line and the leery male-gaze of it all is unpleasant.
The main characters are all oddly one-note. There's little depth to anyone here.
The real horror stuff of the end could have been more subtle and less "rubbery".
Edgar Wright‘s dance card has been a full one for the past 20 (or so) years, from co-creating the cult T.V. hit Spaced, to unleashing The Cornetto Trilogy onto an unsuspecting world… as well as bringing Scott Pilgrim to life and introducing us to Baby Driver. Now he’s striking out in darker directions with this psychological thriller Last Night in Soho.
In acclaimed director Edgar Wright’s psychological thriller, 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.
Peta and Jill are the mirrored beauties at the heart of this podcast, while through the looking-glass Quinny is probably wishing he looked as good in a suit as Matt Smith…
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