Une dernière nuit à Soho

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.

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.

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.

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.

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.