Noite Passada em 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.

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.

From the writer-director of Three Flavours Cornetto trilogy comes a stylishly crafted, smartly photographed & skilfully acted psychological horror that's swirling with nostalgia & affection for the Swinging Sixties. Last Night in Soho attempts to capture the dangers of romanticising the past while showcasing the dark side of show business only to throw it all away in the end.

Co-written & directed by Edgar Wright (Scott Pilgrim & Baby Driver), the first hour is carried out rather well with steady build-up and deft juggling of drama & mystery but the story also falls flat once it enters the third & final act. The horror elements don't pack a thrilling punch either, offering nothing new or effective. As for the script, the writing is substandard at best and required more polish.

The camera also exhibits restraint in its manoeuvring which is unusual for a Wright film but that doesn't mean it's lacking creativity, for it still packs some neat techniques & ingenious tricks. Editing is inconsistent with the narrative flow & pacing while the music brims with 1960s flavours. Thomasin McKenzie & Anya Taylor-Joy contribute with splendid performances and are finely supported by the rest of the cast.

Overall, Last Night in Soho is visually striking and has no trouble whatsoever in transporting its viewers to a bygone era but it also runs out of ideas as it nears its conclusion and settles for an insipid ending. The film does impress in bits n pieces, especially with its neon-bathed visuals, meticulous production design & clever camerawork, but it doesn't amount to a lot in the end. In short, Edgar Wright's latest is amongst his weakest.

Cornish fashion student Eloise moves into a room of an elderly lady's home, when she's there she's able to consciously move back to the 1960's, and see the life of a beautiful young woman.

It took me a little time to get into it, and understand exactly what was going on, but overall, I thought this was a rather excellent film.

It builds and changes pace as it progresses, moving from a suspense intrigue story, into a horror thriller conclusion. You'll need to be concentrating, or you'll miss what's going on.

Diana Rigg, the legend, much missed, was the standout for me, (when wasn't she!) putting in a phenomenal performance, credit to Thomasin McKenzie too, she did a great job, the only person for me who was a little cringey at times, was Matt Smith, maybe not his finest moment.

Two scenes stood out for me, the epic conclusion, loved that, some terrific acting, and as reveals go, this was big, and the scene in the library, that was really freaky.

Beautifully stylish and atmospheric, if you love the 1960's as I do, you'll appreciate the fashions, you'll love the music, overall it's a visual feast.

Highly recommended 8/10.

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.