With Last night in Soho Edgar Wright takes a new directions in terms of capabilities of his poetics, but the film itself, despite its overall impeccable structure, lacks in the something that would make it a masterpiece.
A ghost horror story, Last Night in Soho's storyline ultimately is indeed coherent and well conceived, with little details and hints pervading every frame, some foreshadowings, but ultimately not innovative. Some scenes become a bit predictable, the twists are rather unoriginal, derivative of several ghost horror films. At some point, it appears that the film could have taken a much more daring and interesting direction but ultimately does not.
It is also the style that strikes in this film. Borrowing the lighting effects from Dario Argento and the convolution of the story from Polanski, Wright builds a new visual language for himself.
If the previous filmography by Edgar Wright was well known for its comedy and fast editing, Last Night in Soho seems to abandon these most unique traits. Instead, Wright opts for a more fluid cinematography, which does not however slow down the final result. The energy that pervades Wright's previous cinematography stilll pervades every frame.
Ultimately, the best trait of Last Night in Soho is the door it leaves open for Edgar Wright's future films, projected towards radical new directions.
(excerpts from full review available at comeandreview)
A ghost horror story, Last Night in Soho's storyline ultimately is indeed coherent and well conceived, with little details and hints pervading every frame, some foreshadowings, but ultimately not innovative. Some scenes become a bit predictable, the twists are rather unoriginal, derivative of several ghost horror films. At some point, it appears that the film could have taken a much more daring and interesting direction but ultimately does not.
It is also the style that strikes in this film. Borrowing the lighting effects from Dario Argento and the convolution of the story from Polanski, Wright builds a new visual language for himself.
If the previous filmography by Edgar Wright was well known for its comedy and fast editing, Last Night in Soho seems to abandon these most unique traits. Instead, Wright opts for a more fluid cinematography, which does not however slow down the final result. The energy that pervades Wright's previous cinematography stilll pervades every frame.
Ultimately, the best trait of Last Night in Soho is the door it leaves open for Edgar Wright's future films, projected towards radical new directions.
(excerpts from full review available at comeandreview)