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Long has it been since Edgar Wright delivered a truly satisfying output that establishes him as one of the most interesting directors in the business, whose releases are always awaited eagerly. With this new entry, his gripping visual style fits perfectly giving the puzzling nature of the story. A quite comfortable throwback to London in the 60s for the viewer proves to be horrifiying for Eloise "Ellie", played wonderfully by Thomasin McKenzie, whose only interest is to become a fashion designer. Soon, in a bizarre fashion, she begins to have real contact with the past, by staying in a room containing some skeletons in its closet. She mirrors the image of wannabe star Sandie (played by Anya Taylor-Joy, whose performance is not all that appealing to me, besides her wardrobe fitting so stylishly) and sees her shot at stardom being nothing more than a channel for an underground net of prostitution, and then, psychological horror ensues, as Ellie is now haunted by Sandie's memories of continuous abuse by ghosts of horror past.

The giallo influences are more than evident, which prompts an eerie sensation at least in my case, as I'm reminded of such excellent films like Suspiria or Deep Red, or even Polanski efforts including The Tenant or Repulsion, and Wright knows his film history, so he knows exactly how to deliver an homage in a proper manner, and without abandoning his own rich vision of filmmaking.

If you ask me, Last Night in Soho is one of the better films of 2021, and is also your chance to witness the late Diana Rigg, in her final performance, who I might add she absolutely shines. So come along and enjoy the ride.

While it is certainly different from what you could have expected, I could argue that it is not an entirely satisfying watch. Even though Billie Piper does a remarkable job behind and in front of the camera, the film overall feels like it lacks strenght in the right places. However I won't take away the fact that it takes quite a notable direction in storytelling, which can confuse some viewers, and fascinate others. Obviously this was Miss Piper's intention, but it was not entirely well-executed, in my view. Although the ending did leave me content somehow.

Even so, there are some marvellous performances to behold, such as the one coming from Billie Piper herself, along with Leo Bill, Kerry Fox and the always solid David Thewlis.

Interesting directing debut from Piper, and while not exent from criticism, it is a rightful start that could lead to more precisely elaborated and well-polished endeavours.

This monumental feature is proof enough that amazing feats can be done in this day and age regarding 2D animation. The highly crafted visual style reminiscing of children's book flows extremely well with a heart-warming story that resonates deep within and takes the viewer back to a time in Ireland where authorities still ruled with an iron fist, fixated on getting rid of such majestic creatures of the forest as wolves are.

The legend of the Wolfwalkers comes alive in such an awe-inspiring manner, thanks to the impeccable efforts from the folks at Cartoon Saloon whose animated style has become a trademark of theirs, contrasting harshly with the nowadays standard 3D animated releases out there. Not only does its distinct illustrative style come off as a standout element, but the story that it accompanies is absolutely enchanting, much so that one cannot help but to feel immersed in the world inhabited by Robin, Mebh and her pack of wolves, wrapped up in an intriguing tale of Irish folklore and fantastic fables.

Wolfwalkers is definitely one of the best animated films in recent times, and proof of the mesmerizing growth of animation studio Cartoon Saloon, with a consistent output of high quality features for over a decade now. Here's to more from them!