A young, aspiring fashion designer, Ellie (Thomasin McKenzie), finds that she has the ability to travel back in time to the 1960’s, her favorite time period in the history of London. As she travels back and forth between the past and the present she finds herself among a number of unique individuals including Sandie (Anya Taylor-Joy) and Jack (Matt Smith). While the initial experience is joyous and inviting, the world that she imagined 1960’s London to be is anything but the truth. Last Night in Soho sees Ellie trying to come to terms with the past, while also attempting to understand her place in the present. Her quest will not be an easy one, but the headstrong young woman may just survive.
Capturing just the right angle at just the right moment is of the utmost importance in Last Night in Soho, and Director of Photography Chung-hoon Chung captures every bit of the film with genuine genius. It doesn’t give too much away to say that oftentimes throughout Last Night in Soho characters are seen reflected in a mirror or some other reflective surface–but viewers often see manipulated visuals when this happens. This is not a simple task, but everything plays out seamlessly, never missing a beat and never failing to deliver truly outstanding visuals.
Last Night in Soho is slow moving, daunting, and even crippling at times. The film isn’t for the faint of heart, and it’s most definitely not for anyone looking for a fast-paced, action-filled ride. The film comes down to the minor details, the things hidden in plain sight, and the nuances of the intricately designed dialogue. Last Night in Soho is tricky, intentionally misleading–and what the narrative keeps hidden beneath its surface will eventually become a well-deserved and worth-the-wait payoff. It’s hard to be original, and with viewers getting smarter and smarter as cinema develops, it can be incredibly difficult to keep them in the dark, but Writers Edgar Wright and Krysty Wilson-Cairns do everything perfectly, stringing viewers along, and never giving too much away.
A lot rides on the soundtrack of Last Night in Soho, and it’s brilliantly vibrant–inviting viewers into some of the darkest scenes. While the overarching themes of the film are darkness, pain, and suffering, the soundtrack is often upbeat, existing on the opposite end of the tonal spectrum. The overall tone of the film paired with the incredible soundtrack makes for a wildly interesting ride, regularly appealing to viewers on an emotional level in the most twisted of ways. The darkness that transcends the entirety of the film is met with the lighthearted nature of Kristen Lane’s impressive soundtrack–and the heaviness that may be too heavy for viewers to bear from time to time is wonderfully balanced as a result.
The constant twisting and turning can be difficult to follow from time to time, and Last Night in Soho will appeal to a group of viewers that is willing to wait and to listen to all that Writers Wright and Wilson-Cairns have to say about Ellie, Sandy, and the rest of the cast; those willing to wait will get everything they deserve, and the more than entertaining denouement is impeccable. Last Night in Soho should be regarded as one of the best films of the past few years, appealing to emotion in a number of ways, but even better keeping viewers on the edge of their seats from beginning to end. I’m impressed with the acting, dialogue, narrative, cinematography, soundtrack, and every intricate aspect in between. Last Night in Soho is everything you could have hoped for and more.
Directed by Edgar Wright.
Written by Edgar Wright & Krysty Wilson-Cairns.
Starring Thomasin McKenzie, Aimee Cassettari, Rita Tushingham, Michael Ajao, Synnove Karlsen, Jessie Mei Li, Kassius Nelson, Rebecca Harrod, Terrance Stamp, Diana Rigg, James Phelps, Oiver Phelps, Anya Taylor-Joy, Matt Smith, etc.
⭐⭐⭐⭐⭐⭐⭐⭐⭐/10