Last Night in Soho: sharp, stylish, but stretched thin
James Keown
Much like the time period it’s based around, Edgar Wright’s latest feature Last Night in Soho comes swinging onto the big screen after much anticipation from fans of the director, who has seen widespread success with cult classics like Shaun of the Dead and Scott Pilgrim vs The World.
In an unexpected swerve from Wright’s usual comedic style, the film’s premise is one of thrills, horror and mystery. Eloise (Thomasin McKenzie) is a young student moving to London to study fashion, who has the ability to see the past – including the dead themselves. When Eloise starts experiencing visions of a vibrant 1960s London in her sleep, she becomes attached to an aspiring club singer named Sandy (Anya Taylor-Joy) and her relationship with the smooth-talking Jack (Matt Smith). As Eloise’s reality begins to merge with the past, she must uncover the mystery of Sandy’s fate before it is too late.
The film dazzlingly recreates the flashy feeling of 1960s Soho, with gorgeous retro set-pieces drenched in neon lights, and black taxis and old James Bond posters galore in the colourful city streets. Along with its stylish veneer, the film also delves into the darker side of this era, particularly the rampant sexism. A particular strength of Last Night in Soho is the cinematography, as the bright lights and suave settings of the past are contrasted with the drab visual aesthetic of run-down, modern-day Soho. This becomes beautifully disturbing when both time periods start to melt together, as the neon lights and dancing spirits invade Eloise’s life, pushing her sanity closer and closer to the brink.
Despite the film’s visual strengths, the plot often feels as if it trying to be too much at once. Wright aims for the film to work as a psychological horror and a time-travelling thriller, and while at times the blend works brilliantly, there are just as many moments where the film fails to juggle its many ideas. There are narrative twists and turns that end up falling flat due to a lack of build-up, and scenes which should be momentous simply lack the poignancy they need.
A clear hit with this film is its rewatchability factor. Wright’s usual quirky and quick-witted style shines through an often disjointed plot, and viewers will likely require a second viewing to fully appreciate the clear craftsmanship behind making the world truly come to life. Ultimately, the film is bursting with strong ideas, but feels like it is struggling to define itself under the pressure of being a new genre for Wright, and the plethora of themes and plot points it wants to incorporate.
Overall, Last Night in Soho is worth a watch, at least to see for yourself what the film is aiming for, and to appreciate its strongest points. The cinematography is sharp and stylish, the characters are likeable and interesting, and the story often invokes a classic ghost story feeling along with the retro 60s setting. With so many ideas and a limited time in the spotlight, some plot points and scenes do feel underdeveloped, yet despite the need for a tighter script and a stronger delivery of the film’s ideas, Wright always delivers a spectacle for us to marvel at.
James Keown is a third-year Journalism student at Ulster University.