Last Night in Soho

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.

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.

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.

From the first scene, my hopes for this film started to fade. It is abysmally written, knocked together by a grand total of two brain cells. The characters are cliche and uninteresting and without a single layer of depth, the setups predictable and revisited upon us from a millions other films (bedroom alarm clock going off... the bitchy classmates... overhearing someone talk about you in the bathroom... the plot twist..., etc etc ad nauseum), the acting for the most part unbelievable and often cringe. The one ray of light in the acting was Sam Claflin, who makes a tiny appearance but brings something of interest and intrigue. Why he's not become more mainstream over the years, I have no idea. Sure the cinematography is good, but this alone does not make a film. And we expect decent cinematography as standard from modern films given the leaps in digital technology. Nor does banging some old tunes over celluloid make it hip. This film is entirely style over substance, and unfortunately the style doesn't even come close to the style of the era it attempts to recreate.

I'm suspicious of the IMDb rating this film gets. As usual, many one timers popping a rating in. There are 14,000 ratings for this film. This film has made $8 million at the box-office to date. If we assume roughly one in a hundred people rate a film on IMDb and that the average price of a cinema ticket is $15 (probably an underestimate), then this film should have made $21 million. Even if you're generous and give the figures a 30% lag time and account for preview ratings etc, you should still be hitting $15 mil.

Me thinks many of these reviews are fake...