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.
1,115 Reviews
About Last Night..
aciessi29 October 2021
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.
A beautifully shot film that can't reach the narrative goals it sets for itself
eddie_baggins19 November 2021
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.
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.
Visually Arresting But Narratively Hollow
CinemaClown19 November 2021
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.
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.
Sandie Sure?
southdavid3 December 2021
I went on an Edgar Wright binge during lockdown, half just to see them again and half with an eye on the fact that "Last Night in Soho" was due out when the lockdown lifted. Though I generally would say that I liked the film, unfortunately I felt the conclusion let it down.
Eloise (Thomasin McKenzie) moves from Cornwall to London to become a fashion designer. Obsessed with 1960's culture, she struggles to make friends and leaves the halls of residence for a flat in a house owned by Ms Collins (Diana Rigg). On her first night, she dreams about Sandie (Anya Taylor-Joy) a singer who came to Soho in the 1960's and who fell in with Jack (Matt Smith). As the dreams mix with reality, Eloise comes to question her sanity, what happened to Sandie and who the silver haired gentleman (Terence Stamp) hanging around the city might be.
The stuff that I admired most about the film were related to the performances and to Edgar Wright's direction. There is some very clever work done during the dream/haunting sequences to relay that the characters of Eloise and Sandie are both living the same life and the Eloise is watching it from a distance. There's a dance scene, which is very cleverly choreographed so that both characters can dance with Jack without cutting away. Anya Taylor-Joy really can do anything and make it compelling but as a Giallo-esque femme fetale / victim she's at her most arresting. Smith is a convincing charming heavy though he doesn't feature in the film as much as the girls. Thomasin McKenzie carries an excellent Cornishy accent through the film, and keeps Eloise likable, even when she becomes overwhelmed.
But... I'm not convinced that the story matches up with the talent elsewhere. I don't think the film makes as much sense as it thinks it does, in its conclusion. (Sorry if that sounds vague, bit I'm trying to write without spoilers). Its twist is relatively easy to see coming, though some of the dialogue details from earlier in the film hit differently once you know. I also don't think it's particularly scary, and the "ghosts" in the film aren't an especially well-done effect.
Overall, I enjoyed my time with the film but I can't help and think of it as a missed opportunity for something truly special.
Eloise (Thomasin McKenzie) moves from Cornwall to London to become a fashion designer. Obsessed with 1960's culture, she struggles to make friends and leaves the halls of residence for a flat in a house owned by Ms Collins (Diana Rigg). On her first night, she dreams about Sandie (Anya Taylor-Joy) a singer who came to Soho in the 1960's and who fell in with Jack (Matt Smith). As the dreams mix with reality, Eloise comes to question her sanity, what happened to Sandie and who the silver haired gentleman (Terence Stamp) hanging around the city might be.
The stuff that I admired most about the film were related to the performances and to Edgar Wright's direction. There is some very clever work done during the dream/haunting sequences to relay that the characters of Eloise and Sandie are both living the same life and the Eloise is watching it from a distance. There's a dance scene, which is very cleverly choreographed so that both characters can dance with Jack without cutting away. Anya Taylor-Joy really can do anything and make it compelling but as a Giallo-esque femme fetale / victim she's at her most arresting. Smith is a convincing charming heavy though he doesn't feature in the film as much as the girls. Thomasin McKenzie carries an excellent Cornishy accent through the film, and keeps Eloise likable, even when she becomes overwhelmed.
But... I'm not convinced that the story matches up with the talent elsewhere. I don't think the film makes as much sense as it thinks it does, in its conclusion. (Sorry if that sounds vague, bit I'm trying to write without spoilers). Its twist is relatively easy to see coming, though some of the dialogue details from earlier in the film hit differently once you know. I also don't think it's particularly scary, and the "ghosts" in the film aren't an especially well-done effect.
Overall, I enjoyed my time with the film but I can't help and think of it as a missed opportunity for something truly special.
Consistently entertaining
george_t932 October 2021
What if Hitchcock an Dario Argento had a nephew that loved Agatha Christie novels? That's the premise of the film's aesthetics and I found especially the first half of the film to be really captivating. Anya Taylor Joy's first scene especially was really masterfully crafted. The leading actress was also impeccable.
Nevertheless as the film's story built up steam for a climax, the choice of a particularly ugly CGI and some pointless jump-scares started putting me off. The writing became over the top by the end, but at least it all made sense eventually. Thankfully it maintained a steady coolness, with great music and solid acting, and beautiful costumes and scenery. While the nonsense put off some of my "film buff" friends, I found it consistently entertaining, and a fun time at the movies.
I saw this at a late night screening, at Athens International Film Festival. The hour, the crowd and the vibe really helped the movie experience for me. I recommend it, if you don't get in with high expectations.
Nevertheless as the film's story built up steam for a climax, the choice of a particularly ugly CGI and some pointless jump-scares started putting me off. The writing became over the top by the end, but at least it all made sense eventually. Thankfully it maintained a steady coolness, with great music and solid acting, and beautiful costumes and scenery. While the nonsense put off some of my "film buff" friends, I found it consistently entertaining, and a fun time at the movies.
I saw this at a late night screening, at Athens International Film Festival. The hour, the crowd and the vibe really helped the movie experience for me. I recommend it, if you don't get in with high expectations.
A Thoroughly Decent Film, But it Doesn't Live Up to the Trailers
sipodge7 November 2021
I was captivated by the premise of the film, as seen in the trailers, but unfortunately the film falls flat after the halfway mark. The direction is superb, the acting worthy of praise, and the 1960s soundtrack a fabulous touch; however, the plot (although not complicated) is more complex than it needs to be: trying to be more clever than it actually is, particularly in the final act.
The main character, whose story and experiences we follow, starts out as unique and captivating, standing in stark contrast to the world around her - which creates some interesting conflicts; however, by the end of the film she loses this edge and (perhaps intentionally) is indistinguishable from the world around her.
Additionally, it was lovely to see Dame Diana Rigg on the big screen one last time, but it's a shame that this was to be her final role.
Last Night in Soho is a thoroughly decent film, but is disappointing in light of the creative flair promised in the trailers.
The main character, whose story and experiences we follow, starts out as unique and captivating, standing in stark contrast to the world around her - which creates some interesting conflicts; however, by the end of the film she loses this edge and (perhaps intentionally) is indistinguishable from the world around her.
Additionally, it was lovely to see Dame Diana Rigg on the big screen one last time, but it's a shame that this was to be her final role.
Last Night in Soho is a thoroughly decent film, but is disappointing in light of the creative flair promised in the trailers.
Stylish psychological thriller. Final outing for the late, great Diana Rigg.
Sleepin_Dragon20 November 2022
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.
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.
Sparking psychological thriller that sputters at the end
josiahliljequist30 October 2021
Warning: Spoilers
So I came into this movie with seismic expectations, absolutely loving Baby Driver and having watched all of Edgar Wright's films (and a lot of his recommendations). And I was slightly disappointed, but only because he had a classic to follow up (Baby Driver).
So the movie starts out wonderfully, with a silhouetted Eloise dancing to a 60s tune, as the camera follows her and pans into a 60s bonanza of posters and memorabilia. It reminded me of the opening of Adventures in Babysitting, in which the lead female character likewise starts the movie off by dancing to a 60s upbeat tune. It made Eloise instantly quirky and likable, and it established her love for the 60s, in just a couple of minutes or so. Classic Edgar Wright. Then she is accepted into a fashion college, and moves out to London. She finds that the big city is not all that it's cracked up to be, as she's hit on by a creepy taxi driver, and is gossiped about by her roommate. So far, great seeping psychological tension created by Edgar Wright.
So then Eloise decides to move out and move into a Soho apartment to "escape." And that's when Wrightesque things get into full gear. An otherwise quiet beginning becomes loud with 60s music, bright with marquees and neon lights, and there is gorgeous cinematography, including a 360 panorama of 60s Soho, coordinated reflection shots of Eloise and Sandy, and impeccable transitions in the iconic dance scene. Beautiful, smooth, musical.
And then the movie shifts to its "message," and ghost story part which in it of itself isn't a bad thing. But when the ghost guys in tuxedos begin appearing around every corner, the message begins to become redundant, and the psychological aspect of the movie loses energy. Subtlety gives way to obvious symbols and even some questionable music choices (Always Something There to Remind me was a little on the nose). It's not that it ruins the film--it doesn't, as the two lead actresses do a fantastic job throughout the movie, and the soundtrack is consistently popping. It's just that the cgi ghosts drag the movie down, and undercut the otherwise disturbing tension that was created in the first third of the movie. And without spoiling it, the ending sort of cheats the audience, and reveals the plot to be more of a message and idea than a...well...a plot. But overall, Last Night in Soho is an immersive experience by Edgar Wright that crumbles a little bit when entering the ghost moral message segment of the movie.
So the movie starts out wonderfully, with a silhouetted Eloise dancing to a 60s tune, as the camera follows her and pans into a 60s bonanza of posters and memorabilia. It reminded me of the opening of Adventures in Babysitting, in which the lead female character likewise starts the movie off by dancing to a 60s upbeat tune. It made Eloise instantly quirky and likable, and it established her love for the 60s, in just a couple of minutes or so. Classic Edgar Wright. Then she is accepted into a fashion college, and moves out to London. She finds that the big city is not all that it's cracked up to be, as she's hit on by a creepy taxi driver, and is gossiped about by her roommate. So far, great seeping psychological tension created by Edgar Wright.
So then Eloise decides to move out and move into a Soho apartment to "escape." And that's when Wrightesque things get into full gear. An otherwise quiet beginning becomes loud with 60s music, bright with marquees and neon lights, and there is gorgeous cinematography, including a 360 panorama of 60s Soho, coordinated reflection shots of Eloise and Sandy, and impeccable transitions in the iconic dance scene. Beautiful, smooth, musical.
And then the movie shifts to its "message," and ghost story part which in it of itself isn't a bad thing. But when the ghost guys in tuxedos begin appearing around every corner, the message begins to become redundant, and the psychological aspect of the movie loses energy. Subtlety gives way to obvious symbols and even some questionable music choices (Always Something There to Remind me was a little on the nose). It's not that it ruins the film--it doesn't, as the two lead actresses do a fantastic job throughout the movie, and the soundtrack is consistently popping. It's just that the cgi ghosts drag the movie down, and undercut the otherwise disturbing tension that was created in the first third of the movie. And without spoiling it, the ending sort of cheats the audience, and reveals the plot to be more of a message and idea than a...well...a plot. But overall, Last Night in Soho is an immersive experience by Edgar Wright that crumbles a little bit when entering the ghost moral message segment of the movie.
Very Unique Movie
Movies_Frever4 September 2021
Stylish but too many narrative issue
varun-4472429 October 2021
Warning: Spoilers
Although the performances are good and the directing is stylish and slick there are too many narrative issues to score this film much higher than a 6.
The concept of the "time travel" is never actually explained, why and how it is happening is never revealed.
The ghostly men act as if they are trying to kill Ellie the whole film and even at one point trap her on the bed only to then reveal they are on her side.
Sandy is treated as a hero at the end after her death whereas a few minutes earlier she attempted to kill both John and Ellie brutally. Why would Ellie then have sympathy for Sandy during the fire scene when she has literally just attempted to kill her and her friend?
More questions than answers at the end left me feelin unfulfilled. I will remain a fan of Edgar Wright but this was disappointing for me considering i felt the story had good potential in the beginning.
The concept of the "time travel" is never actually explained, why and how it is happening is never revealed.
The ghostly men act as if they are trying to kill Ellie the whole film and even at one point trap her on the bed only to then reveal they are on her side.
Sandy is treated as a hero at the end after her death whereas a few minutes earlier she attempted to kill both John and Ellie brutally. Why would Ellie then have sympathy for Sandy during the fire scene when she has literally just attempted to kill her and her friend?
More questions than answers at the end left me feelin unfulfilled. I will remain a fan of Edgar Wright but this was disappointing for me considering i felt the story had good potential in the beginning.
Old school
kosmasp3 November 2021
Edgar Wright seems to polarize with this movie. Although generally speaking the majority seem to love this as much as I did. Or in similar fashion - no pun intended. And for a genre movie it starts off ... well off (weird). You don't get a shocker, quite the opposite it starts off with a music number/dancing. Which makes sense when you think about it in hindsight and still sets a tone for the viewer - even if not one that is as menacing as the movie becomes later on.
Technically speaking the movie is impeccable. Anyone arguing differently surely has not seen far lesser movies produced than this and is probably blinded by the fact they don't like the movie. Which is more than fine, just don't let your dislike turn into a general bashing. One does not have to like a movie that is well made. We have different tastes and that is a good thing.
There are things that depending on how you view things, may feel like flaws or things the movie did not get right. Like the moral ambiguity or the love interest. The latter may feel a bit one dimensional, but ask yourself this: how many female love interests have been played or rather written the exact same way? So this is nothing unusual - unless you count the gender swap for who is playing the gullible and way too nice person to be real ... having said that, again that may not be enough to sway you to like the movie or the characters.
And the moral issues the movie displays including an ending that some may not be entirely left satisfied with (character choices and so much more) - with many unanswered questions ... on the other hand, some things are better left without an answer, so we as viewers can fill in the blanks.
Stylish and probably with quite a few in-camera effects (I imagine certain tricks were used to avoid a higher special effects cost, but I may be wrong), this movie has a few exquisite jump scares and a really good story as a backbone. Oh and before I forget, a great cast. It has been ages since I last saw Terence Stamp on the big screen ... Covid aside of course.
Anyway, really good genre movie by a director who knows what he wants - for an audience who mostly seems to appreciate it.
Technically speaking the movie is impeccable. Anyone arguing differently surely has not seen far lesser movies produced than this and is probably blinded by the fact they don't like the movie. Which is more than fine, just don't let your dislike turn into a general bashing. One does not have to like a movie that is well made. We have different tastes and that is a good thing.
There are things that depending on how you view things, may feel like flaws or things the movie did not get right. Like the moral ambiguity or the love interest. The latter may feel a bit one dimensional, but ask yourself this: how many female love interests have been played or rather written the exact same way? So this is nothing unusual - unless you count the gender swap for who is playing the gullible and way too nice person to be real ... having said that, again that may not be enough to sway you to like the movie or the characters.
And the moral issues the movie displays including an ending that some may not be entirely left satisfied with (character choices and so much more) - with many unanswered questions ... on the other hand, some things are better left without an answer, so we as viewers can fill in the blanks.
Stylish and probably with quite a few in-camera effects (I imagine certain tricks were used to avoid a higher special effects cost, but I may be wrong), this movie has a few exquisite jump scares and a really good story as a backbone. Oh and before I forget, a great cast. It has been ages since I last saw Terence Stamp on the big screen ... Covid aside of course.
Anyway, really good genre movie by a director who knows what he wants - for an audience who mostly seems to appreciate it.
It doesn't makes sense at all
p-07034-284114 December 2021
Warning: Spoilers
I was quite enjoyed in the first half, when I saw the main character, I saw myself, making art just like her, but then every thing became a chaos, there's so many things that doesn't make sense, what was her mother doing in the movie for? To confused with the audience whether she's insane or not? Also, John was a bit too nice didn't he? U love that girl so much that u would like to take a knife for her? Come on, don't be stupid, that girl almost killed other student in the library, wouldn't she need to be expelled?? Hello?
Repetitive night in Soho
MissSimonetta13 March 2023
There's a solid giallo-esque thriller inside this lumbering mess of a film. Director Edgar Wright has style yo spare, bathing this nightmarish London in neon lights that exude both danger and glamor. The re-creations of Swinging London in the flashbacks are also impressive, clearly crafted down to the last detail. Too bad the story sucks.
This is one of those films where the main character is hysterical and naive, and while this is meant to be endearing and sympathetic, I was done with her within the first half hour. The other characters are all flat, from the too good to be true love interest to the twist villain.
Worst of all is how repetitive the middle of the movie is. Ellie is constantly bombarded by visions of vile men, their hands groping at her (is this an homage to Polanski's REPULSION or plagiarism?). It's initially creepy-- then it just becomes rote and boring and overblown.
Maybe if this were an 80 minute movie with 95% less CG ghosts, we'd actually have something manageable. Not good necessarily, but certainly more enjoyable.
This is one of those films where the main character is hysterical and naive, and while this is meant to be endearing and sympathetic, I was done with her within the first half hour. The other characters are all flat, from the too good to be true love interest to the twist villain.
Worst of all is how repetitive the middle of the movie is. Ellie is constantly bombarded by visions of vile men, their hands groping at her (is this an homage to Polanski's REPULSION or plagiarism?). It's initially creepy-- then it just becomes rote and boring and overblown.
Maybe if this were an 80 minute movie with 95% less CG ghosts, we'd actually have something manageable. Not good necessarily, but certainly more enjoyable.
First half is great film, perfect retro; second half is gimmicky horror trope-on-trope
random-7077812 November 2021
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.
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.
That got dark quickly (spoilers)
giberoutatime18 January 2023
Warning: Spoilers
Just caught this on HBO Max. Was really surprised- in a good way. I like films that don't always go where you expect and this film is definitely that.
Edgar Wright leaves a lot of his trademark humor and jump cuts behind to invest instead in technically stylish retro nostalgia of 1960's London ( the titular SOHO). Fashion student Ellie leaves her Grandma and her safe country home when she gets accepted to Fashion school in London. Ellie is an easy target for the other city girls in her school and soon finds a small room to rent off campus. Her first night in her new apartment we are introduced to Sandie, a bright eyed fashionista and wannabe singer who used to live in the same apartment in the '60's.
Ellie becomes obsessed with Sandie and starts to imitate her in many ways. We know that Ellie has mental issues due to her Mom killing herself when Ellie was Seven. Ellie becomes embroiled in Sandies story and begins to improve herself.
Sandies story quickly becomes dark however, like, really dark. Her boyfriend/manager ends up tricking her out at the club. Matt Smith plays a pimp. Suddenly the retro fairy tale about the swinging '60's becomes a cautionary tale about sex trafficking. Somehow the story gets even darker from there. I won't spoil too much but I will say it reminded me of STIR OF ECHOES with Kevin Bacon.
I can see this movie really divided people. Some loved it, others hated it. I thought it was really good and certainly a departure from Edgar Wrights other work. Kudos for the effort Sir!
The cast was fantastic: Thomasin McKenzie and Anya Taylor-Joy were fantastic! Matt Smith was both charming and creepy. Terrence Stamp was awesome per usual and the late Diana Rigg steals the show in the end. Not what I was expecting but a solid horror surprise that I would watch again. A solid 7 stars!
Edgar Wright leaves a lot of his trademark humor and jump cuts behind to invest instead in technically stylish retro nostalgia of 1960's London ( the titular SOHO). Fashion student Ellie leaves her Grandma and her safe country home when she gets accepted to Fashion school in London. Ellie is an easy target for the other city girls in her school and soon finds a small room to rent off campus. Her first night in her new apartment we are introduced to Sandie, a bright eyed fashionista and wannabe singer who used to live in the same apartment in the '60's.
Ellie becomes obsessed with Sandie and starts to imitate her in many ways. We know that Ellie has mental issues due to her Mom killing herself when Ellie was Seven. Ellie becomes embroiled in Sandies story and begins to improve herself.
Sandies story quickly becomes dark however, like, really dark. Her boyfriend/manager ends up tricking her out at the club. Matt Smith plays a pimp. Suddenly the retro fairy tale about the swinging '60's becomes a cautionary tale about sex trafficking. Somehow the story gets even darker from there. I won't spoil too much but I will say it reminded me of STIR OF ECHOES with Kevin Bacon.
I can see this movie really divided people. Some loved it, others hated it. I thought it was really good and certainly a departure from Edgar Wrights other work. Kudos for the effort Sir!
The cast was fantastic: Thomasin McKenzie and Anya Taylor-Joy were fantastic! Matt Smith was both charming and creepy. Terrence Stamp was awesome per usual and the late Diana Rigg steals the show in the end. Not what I was expecting but a solid horror surprise that I would watch again. A solid 7 stars!
Too much
angelesoviedo27 November 2021
Warning: Spoilers
I enjoyed this film for its aesthetic and score but the story was all over the place.
Ellie is a fashion student that dreams about Sandy and her life. She's sure that her pimp killed her years ago. We have this story that goes on and on for nothing. Ellie was wrong and Sandy was not killed.
It was just not entertaining and the last 40 minutes felt really forced.
Not bad, just not the best.
Ellie is a fashion student that dreams about Sandy and her life. She's sure that her pimp killed her years ago. We have this story that goes on and on for nothing. Ellie was wrong and Sandy was not killed.
It was just not entertaining and the last 40 minutes felt really forced.
Not bad, just not the best.
Last night in Soho. Review.
giokintsurashvili21 November 2021
The main problem in the movie is well-known and the director succesfully showed to people unlucky women's life. Sound effects and colours are also good. I think the problem of the film is that it is tiring for viewers. I have noticed many moments that were completly unnecesary. Also actors didn't act well and it was boring. To sum up, it is worth to watch, but I had much more expectations than it is actually.
Enrapturing
Calicodreamin3 November 2021
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.
So so Soho
murada196729 November 2021
where the neon signs are pretty
ferguson-629 October 2021
Greetings again from the darkness. Every once in a while a movie captures that magic feeling of being swept away, and this wild film from writer-director Edgar Wright and co-writer Kristy Wilson-Cairns (1917) did just that for me. This is my kind of psychological-horror-thriller and with the exception of one sequence that went a bit too "slasher" for my tastes, I had a blast watching it. I'll admit that, while also acknowledging more people will probably not enjoy this, than will. But for those who do, I feel confident they will share my enthusiasm.
Eloise (Thomasin McKenzie, JOJO RABBIT, 2019) opens the film by expressively dancing to Peter & Gordon's "A World Without Love" while sporting a self-designed dress made of perfectly creased newspaper. Her room is filled with 1960's colors and memorabilia and we soon learn she's an orphan raised by her grandmother (Rita Tushingham, A TASTE OF HONEY, 1961). Eloise, or Ellie as she's called, dreams of following her mother's path to London, and is thrilled beyond measure when her acceptance letter arrives from the London School of Fashion. Ellie does carry the burden (and visions) of her mother's mental illness, and her grandmother warns, "London can be a lot." Small town (Cornwall) Ellie with her timidity and wide-eyed innocence arrives in London and is immediately the target of 'mean girl' and fellow student Jocasta (Synnove Karlsen). Rather than subject herself to the abuse, Ellie sublets an attic room from an old lady landlord named Mrs. Collins (the last screen appearance for the great Diana Rigg). Ellie loves the room and her independence, but her dreams act as a portal back to those swinging 60's of which she's so fond. But that's only the beginning. It's here where she follows/becomes Sandie (Anya Taylor-Joy), and the mirror effects are truly other-worldly. Sandie is everything that Ellie wishes she was herself - confident, radiant, ambitious, and beautiful. This dream state allows Ellie to live vicariously through Sandie. At least initially.
The Ellie-Sandie sequences mess with your head in a wonderful way. Sandie seems to float across the club's dance floor, and Ellie is mesmerized at first, before turning protective. The tone shifts when Sandie meets sleazy Jack (Matt Smith), a would-be agent who promises to get Sandie the shot at stardom she desires. This leads to ATJ's amazing and breathy version of Petula Clark's "Downtown". It's a standalone highlight of the film, and a moment that shifts the story yet again. If you are struggling to keep pace, you're not alone.
Soho's glamour is matched only by its grunge. The recurring dreams turn to nightmares, so that even Ellie's waking hours are surreal. A mysterious elderly gent played by Terence Stamp may be the key to the mystery Ellie's so busy trying to solve that she is oblivious to the romantic overtures by nice guy John (Michael Ajao). The nostalgia of the 60's provides a visual treat with the Café de Paris, a massive theater marquee advertising James Bond's THUNDERBALL, and Cilla Black's "You're My World".
Filmmaker Wright gives us so much to discuss, but it's crucial that the best parts not be spoiled. Just know that Oscar winner Steven Price (GRAVITY, 2013) provides an incredible mix of music, while Chung-Hoon Chung's cinematography, Marcus Rowland's Production Design, and Odile Dicks-Mireaux's costumes all nearly steal the show. But of course, that can't possibly happen thanks to the stupendous performances from Anya Taylor-Joy and (especially) Thomasin McKenzie. These are two of the finest young actors working today, and we will be fortunate to watch their careers develop.
Edgar Wright is having quite a year. He's already delivered the terrific documentary, THE SPARKS BROTHERS, and now comes what is his best work yet. You may know his work on BABY DRIVER (2017) or the Three Flavours Cornetto trilogy that kicked off with SHAUN OF THE DEAD (2004). Here, he playfully bounces between genres serving up time travel, a murder mystery, the Soho history, a memorable soundtrack, surreal dream and ghost sequences, a touch of romance, and that previously mentioned 'slasher' scene. A final tip of the cap to Diana Rigg, whose career spanned her role as Emma Peel in "The Avengers" (from the 60's), her time as a Bond girl in ON HER MAJESTY'S SECRET SERVICE (1969), and ultimately as Olenna Tyrell in "Game of Thrones".
Opens in theaters on October 29, 2021.
Eloise (Thomasin McKenzie, JOJO RABBIT, 2019) opens the film by expressively dancing to Peter & Gordon's "A World Without Love" while sporting a self-designed dress made of perfectly creased newspaper. Her room is filled with 1960's colors and memorabilia and we soon learn she's an orphan raised by her grandmother (Rita Tushingham, A TASTE OF HONEY, 1961). Eloise, or Ellie as she's called, dreams of following her mother's path to London, and is thrilled beyond measure when her acceptance letter arrives from the London School of Fashion. Ellie does carry the burden (and visions) of her mother's mental illness, and her grandmother warns, "London can be a lot." Small town (Cornwall) Ellie with her timidity and wide-eyed innocence arrives in London and is immediately the target of 'mean girl' and fellow student Jocasta (Synnove Karlsen). Rather than subject herself to the abuse, Ellie sublets an attic room from an old lady landlord named Mrs. Collins (the last screen appearance for the great Diana Rigg). Ellie loves the room and her independence, but her dreams act as a portal back to those swinging 60's of which she's so fond. But that's only the beginning. It's here where she follows/becomes Sandie (Anya Taylor-Joy), and the mirror effects are truly other-worldly. Sandie is everything that Ellie wishes she was herself - confident, radiant, ambitious, and beautiful. This dream state allows Ellie to live vicariously through Sandie. At least initially.
The Ellie-Sandie sequences mess with your head in a wonderful way. Sandie seems to float across the club's dance floor, and Ellie is mesmerized at first, before turning protective. The tone shifts when Sandie meets sleazy Jack (Matt Smith), a would-be agent who promises to get Sandie the shot at stardom she desires. This leads to ATJ's amazing and breathy version of Petula Clark's "Downtown". It's a standalone highlight of the film, and a moment that shifts the story yet again. If you are struggling to keep pace, you're not alone.
Soho's glamour is matched only by its grunge. The recurring dreams turn to nightmares, so that even Ellie's waking hours are surreal. A mysterious elderly gent played by Terence Stamp may be the key to the mystery Ellie's so busy trying to solve that she is oblivious to the romantic overtures by nice guy John (Michael Ajao). The nostalgia of the 60's provides a visual treat with the Café de Paris, a massive theater marquee advertising James Bond's THUNDERBALL, and Cilla Black's "You're My World".
Filmmaker Wright gives us so much to discuss, but it's crucial that the best parts not be spoiled. Just know that Oscar winner Steven Price (GRAVITY, 2013) provides an incredible mix of music, while Chung-Hoon Chung's cinematography, Marcus Rowland's Production Design, and Odile Dicks-Mireaux's costumes all nearly steal the show. But of course, that can't possibly happen thanks to the stupendous performances from Anya Taylor-Joy and (especially) Thomasin McKenzie. These are two of the finest young actors working today, and we will be fortunate to watch their careers develop.
Edgar Wright is having quite a year. He's already delivered the terrific documentary, THE SPARKS BROTHERS, and now comes what is his best work yet. You may know his work on BABY DRIVER (2017) or the Three Flavours Cornetto trilogy that kicked off with SHAUN OF THE DEAD (2004). Here, he playfully bounces between genres serving up time travel, a murder mystery, the Soho history, a memorable soundtrack, surreal dream and ghost sequences, a touch of romance, and that previously mentioned 'slasher' scene. A final tip of the cap to Diana Rigg, whose career spanned her role as Emma Peel in "The Avengers" (from the 60's), her time as a Bond girl in ON HER MAJESTY'S SECRET SERVICE (1969), and ultimately as Olenna Tyrell in "Game of Thrones".
Opens in theaters on October 29, 2021.
Fun movie, weak ending
sameer-jafar17 September 2021
Warning: Spoilers
The film was captivating and very native to Edgar Wright's playful form of filmmaking. It was well cast and there was particularly one moment in the film that truly had me in awe (there is an initial introduction to the alternate world that Ellie experiences). The set and wardrobe design felt authentic and grand all in the same beat.
However, after about halfway through the parallel story, it started to lose itself (similar to the main character). What started as a sophisticated weave turned into a tangled knot, leaving many setups in the main plot line without a conclusion and it ultimately lead to a typical big budget ending. Feel free to take the ride if you're ok to forget about it once it's over.
However, after about halfway through the parallel story, it started to lose itself (similar to the main character). What started as a sophisticated weave turned into a tangled knot, leaving many setups in the main plot line without a conclusion and it ultimately lead to a typical big budget ending. Feel free to take the ride if you're ok to forget about it once it's over.
A movie Audrey Hepburn would love to have been in
Durmey23 September 2021
I'm not gonna write any spoilers here, but this movie is a must see for anyone who loves 60's Giallo-styled movies and here is why...
The three pillars that carry this movie are: great acting, killer music and an amazing cinematography
My only point of critique would be the storyline. There are a few minor plotholes and at some point the movie was starting to lose me as a viewer. It became a bit too much of a psychological thriller. Luckily, things got turned around just in time to leave me satisfied in the end. It isn't easy to explain this without giving away spoilers, so I guess you'd have to watch it for yourself.
This movie turned out to be a cinematographic marble and I wasn't expecting this at all. It's made by the same guy who directed Baby Driver and it shows. Both these movies have great acting and a killer soundtrack in common.
Extra bonus points for Anya Taylor-Joy (that girl from the Queen's Gambit). She was amazing as a 60's persona. I really got Audrey Hepburn-vibes from her and that's not a compliment to give lightly.
The three pillars that carry this movie are: great acting, killer music and an amazing cinematography
My only point of critique would be the storyline. There are a few minor plotholes and at some point the movie was starting to lose me as a viewer. It became a bit too much of a psychological thriller. Luckily, things got turned around just in time to leave me satisfied in the end. It isn't easy to explain this without giving away spoilers, so I guess you'd have to watch it for yourself.
This movie turned out to be a cinematographic marble and I wasn't expecting this at all. It's made by the same guy who directed Baby Driver and it shows. Both these movies have great acting and a killer soundtrack in common.
Extra bonus points for Anya Taylor-Joy (that girl from the Queen's Gambit). She was amazing as a 60's persona. I really got Audrey Hepburn-vibes from her and that's not a compliment to give lightly.
Pretty good but tanks hard in the last act.
Okfreedom4 December 2021
Warning: Spoilers
Edgar Wright is one of my favorite directors of modern day due to his stylishness and the way he mixes and mashes elements into his films to make them wholly original. Not to mention the large amounts of foreshadowing that you sometimes miss on the first viewing if you're not observant.
As such, I was really excited for the film as this not only looks different from his other films but also a lot darker and more serious. By itself, it's not a bad film but compared to Edgar Wright's other films, it's definitely his worst film as a director.
The premise involved Eloise, an aspiring fashion designer who has a love for the 60s and this gift of going to the past and seeing ghosts. She gets accepted into the London College of Fashion, only to find out that London isn't as glamorous as she thought. This increases further when she does go into the past to the 60s and comes across Sandie, an aspiring singer who meets Jack (Matt Smith), only for the relationship and her career to take a dark turn.
Right off the bat, one of the things I loved about this film was how it deconstructed the past and nostalgia. Even though the aesthetics were one of the primary things that we remembered back then, in reality life was much worse back then than it is nowadays. What made the film disturbing for me was seeing the misogyny and all the perverted stuff that took place back then as well as Jack, who is easily the most disturbing character in the film. It even extends to modern day, where just after arriving in London, Eloise gets creeper out by a cab driver who even lampshades that he could be her first stalker. She gets out and hides in a shop and luckily he leaves and we never see him again but still, it's such a realistic element and it's disturbing because it could happen to anyone.
Chung Chung-hoon's cinematography is also a highlight as we get some very beautiful neon shots of London, especially during the 60s. The framing is also perfect, as is the case with every Edgar Wright film.
Music choices are perfect as well and we even get Anya Taylor Joy's version of Downtown.
Every perfomance feels perfect: Thomasin McKenzie, Anya Taylor Joy, Matt Smith, the late Diane Riggs, Terrence Stamp, etc. We even get Sam Claflin (who plays Terrence Stamp's younger self) and Jessica Mei Lei (of Shadow and Bone fame) as one of Eloise's classmates.
For the first half of the film, I was loving it and was intrigued. I was waiting to see where it was going to go and how it would tie into modern day. But sadly, when we get to the Halloween party, it goes downhill hard. This is where Eloise starts seeing ghosts of all the people Sandie has killed, Jack included, and compared to her mother, here they start haunting her. It then culminates when Mrs Collins (Eloise's landlady) is revealed to be Sandie which leads Collins to poison Eloise and stab John (who was one of the only classmates that was nice to her). From there we gets this absolutely trippy chase sequence that not only feels out of place but feels like it's from a different story, narrative-wise.
This is pretty bizzare, considering that both Edgar Wright and Krysty Wilson Cairns (who wrote 1917 and Penny Dreadful) are actual good writers. Many people have said this film felt like it was trying to be two things and honestly, I agree fully.
In conclusion, even though it's a good film, it's definitely Edgar Wright's worst film and desperately needed a better second half.
As such, I was really excited for the film as this not only looks different from his other films but also a lot darker and more serious. By itself, it's not a bad film but compared to Edgar Wright's other films, it's definitely his worst film as a director.
The premise involved Eloise, an aspiring fashion designer who has a love for the 60s and this gift of going to the past and seeing ghosts. She gets accepted into the London College of Fashion, only to find out that London isn't as glamorous as she thought. This increases further when she does go into the past to the 60s and comes across Sandie, an aspiring singer who meets Jack (Matt Smith), only for the relationship and her career to take a dark turn.
Right off the bat, one of the things I loved about this film was how it deconstructed the past and nostalgia. Even though the aesthetics were one of the primary things that we remembered back then, in reality life was much worse back then than it is nowadays. What made the film disturbing for me was seeing the misogyny and all the perverted stuff that took place back then as well as Jack, who is easily the most disturbing character in the film. It even extends to modern day, where just after arriving in London, Eloise gets creeper out by a cab driver who even lampshades that he could be her first stalker. She gets out and hides in a shop and luckily he leaves and we never see him again but still, it's such a realistic element and it's disturbing because it could happen to anyone.
Chung Chung-hoon's cinematography is also a highlight as we get some very beautiful neon shots of London, especially during the 60s. The framing is also perfect, as is the case with every Edgar Wright film.
Music choices are perfect as well and we even get Anya Taylor Joy's version of Downtown.
Every perfomance feels perfect: Thomasin McKenzie, Anya Taylor Joy, Matt Smith, the late Diane Riggs, Terrence Stamp, etc. We even get Sam Claflin (who plays Terrence Stamp's younger self) and Jessica Mei Lei (of Shadow and Bone fame) as one of Eloise's classmates.
For the first half of the film, I was loving it and was intrigued. I was waiting to see where it was going to go and how it would tie into modern day. But sadly, when we get to the Halloween party, it goes downhill hard. This is where Eloise starts seeing ghosts of all the people Sandie has killed, Jack included, and compared to her mother, here they start haunting her. It then culminates when Mrs Collins (Eloise's landlady) is revealed to be Sandie which leads Collins to poison Eloise and stab John (who was one of the only classmates that was nice to her). From there we gets this absolutely trippy chase sequence that not only feels out of place but feels like it's from a different story, narrative-wise.
This is pretty bizzare, considering that both Edgar Wright and Krysty Wilson Cairns (who wrote 1917 and Penny Dreadful) are actual good writers. Many people have said this film felt like it was trying to be two things and honestly, I agree fully.
In conclusion, even though it's a good film, it's definitely Edgar Wright's worst film and desperately needed a better second half.
Last Night in so-so
alex_with_a_P29 October 2022
Warning: Spoilers
I would say this is one of Wright's weakest efforts since Baby Driver. The story starts off very promising with a young girl coming to a big city carrying all her hopes and dreams, despite the sinister warnings she gets from her grandmother. It is a story that could have been a cautionary fairy-tale, if it bothered to focus on an engaging story or interesting characters. Instead we get lots of visual flexes but without the emotional pull. The story is so neglected that see the big twist coming from a mile away.
In fact Thomasin McKenzie's performance is painfully bland and she has only one face expression left by the second half of the movie (the part where she starts go 'crazy' and seeing things). In contrast to Anna Taylor Joy who shines in comparison, she's trying the best she can do with the material she's been given. Matt Smith is okay, the direction made it painfully obvious that he isn't a prince charming. And there's really nothing more to his one dimensional portrayal.
The story is trying to go for so many things like noir, mystery thriller or even horror. But at it's heart the mystery is not very intriguing and like I said quite predictable. The moment our protagonist questions her sanity is when it became unintentionally funny (similar like Black Swan). And then the CGI ghost gimmick put the final nail on the coffin.
Too bad, with all the talent involved this should have been a home run.
In fact Thomasin McKenzie's performance is painfully bland and she has only one face expression left by the second half of the movie (the part where she starts go 'crazy' and seeing things). In contrast to Anna Taylor Joy who shines in comparison, she's trying the best she can do with the material she's been given. Matt Smith is okay, the direction made it painfully obvious that he isn't a prince charming. And there's really nothing more to his one dimensional portrayal.
The story is trying to go for so many things like noir, mystery thriller or even horror. But at it's heart the mystery is not very intriguing and like I said quite predictable. The moment our protagonist questions her sanity is when it became unintentionally funny (similar like Black Swan). And then the CGI ghost gimmick put the final nail on the coffin.
Too bad, with all the talent involved this should have been a home run.
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