Last Night in Soho

Mulholland Drive pour les enfants. Anna magique, une belle stylisation rétro, une caméra et un montage soignés, mais pas de suspense ni d'horreur en vue. (14/11/2021)

Edgar Wright has made more evenly balanced films than Last Night in Soho, in which Thomasin McKenzie awakens from a nostalgic daydream of 1960s London to a nightmare of disillusion. At any rate, his musical stab at post-#MeToo horror is highly entertaining and original. In fact, it is more original than you would expect from a genre movie that is so enchanted by other genres and undergoes a transformation according to which genre Wright is referencing at the given moment. That transformation is always complete. The stylisation changes along with the heroine’s motivation, goal and place in the narrative. A comedic fish-out-of-water drama in a university setting first becomes an observational movie of someone’s glittering life in swinging London and then an amateur (giallo) detective flick that continually slips into a ghost/zombie/splatter horror movie or a claustrophobic psycho-thriller along the lines of Polanski’s Repulsion. Wright and Krysty Wilson-Cairns managed to incorporate into the story a warning against idealising the past (or rather the attempt to interpret it according to today’s values) somewhat more elegantly than the motif of trauma imprinted on bodies and places. However, I definitely do not think that, with respect to its bold stylisation, the film stigmatises mental illness and sex work, as some foreign reviews accuse it of doing. It is a stylish genre mishmash. It may not work perfectly, but I enjoyed it from the opening to the closing credits. 80%. (02/11/2021)

I'm pretty pleased with Wright's new film, though it does take a weird nosedive during the ride to the finale and struggles to not completely fall apart at the end. At the same time, the acting is brilliant, the sets are great, the direction is imaginative, the soundtrack is polished and the cast is amazing, especially Thomasin McKenzie, who I find to be one of the cutest and most likeable heroines in horror in a long time. The script throws up a number of themes and you wait to see what will come out of them... only to find that many turn out to be nothing. The ending itself makes it seem as if a number of minutes were cut before it, or as if the director and everyone on set suddenly stopped having fun. But I don't want to sound too negative, because I definitely don't have a negative feeling about this film. On the contrary, I was more satisfied than I expected for most of the runtime, and I'm just a little disappointed that the finale didn't go as far as it looked like it might at one point. (04/11/2021)

I like Edgar Wright, but the more serious he gets, the more I have a problem with it. So I'll always prefer Shaun of the Dead and Hot Fuzz to the shallow and over-stylized Baby Driver. And now over Last Night in Soho. His new release reminded me of Guillermo del Toro's Crimson Peak, a horror film that was great in every way, audiovisually and genre-wise. Only that with this one, I felt like the director was fulfilling a dream of his, paying homage to a favorite genre, a favorite era, and a favorite form. And does it brilliantly, as if he had made the whole thing for himself rather than anyone else. On the other hand, Wright's play with color, the great soundtrack, the gorgeous costumes, and his typical audiovisual games from time to time still work great. And Thomasin McKenzie is excellent, with Anya Taylor-Joy not far from her, but it's not enough. With Last Night in Soho Wright makes mostly himself happy, which I wish him well, but I won't applaud him for it. (03/11/2021)

One sort of expects form over substance from Wright, especially in a film that wets both feet in the waters of Giallo, Lynch and the 1960s. Maybe I wouldn't have expected such a big split between the exquisite form and the empty content, but whatever. The hauntingly enchanting hallucinatory atmosphere makes up for a lot of it, likewise with Wright in some places of the first half, which although it's not without its hiccups, it definitely has something (and especially someone) to build on. Unfortunately, though, Wright decided to start grafting some content in the second half and ruined everything, especially during the final 20 minutes, which are unintentionally ridiculous. What is most fascinating about the whole shattering finale is that even the otherwise top-notch form betrays him during it. (03/11/2021)

This is London, where someone has died in every room of every building and on every street corner of the city. I like Edgar Wright very much, everything he does. Baby Driver, Hot Fuzz and Scott Pilgrim were no fluke and this retro mystery horror outing is very well done, in fact I'm surprised at how satisfied I am. There is a mix of genres throughout the film, but thankfully it all holds together and not once does it fall apart under the director's hands. It mixes drama, retro-crime, coming-of-age, dreamy fantasy, horror and mysterious psycho thriller. The whole thing relies on the excellent young actresses Thomasin McKenzie and Anya Taylor-Joy, my darling and who excels again. The horror elements are impressive, there are some pretty nasty scares as well as a few brutal scenes, so in that respect I'm satisfied. The retro soundtrack, atmosphere, engaging plot with a surprising climax, strong stylization and very well-written dialogue are also good. It's definitely not a pure horror film, but it's a good enough film in almost every respect, so I have nothing to complain about. Together with Malignant, the most outstanding mainstream genre film this year. Story 4/5, Action 3/5, Humour 1/5, Violence 3/5, Entertainment 4/5 Music 5/5, Visuals 5/5, Atmosphere 4/5, Suspense 4/5, Emotion 2/5, Actors 5/5. 8.5/10. (22/11/2021)

A thoroughly intoxicating experience that drew me in like few films manage to do. After 14 years, Edgar Wright has made a film that I have nothing to reproach, and above all, the way he made it is breathtaking. Amazing visuals to the rhythm of superbly chosen music, clouds of directorial ideas, a clever (perhaps just a little too literal at the end) screenplay and a fantastic cast, of which Anya Taylor-Joy stands out, but Thomasin McKenzie keeps on her heels with his transformation until he eventually is on par with her, and Matt Smith is, as always, a great choice. I look forward to experiencing it all again. (26/11/2021)

Avec Last Night in Soho, Edgar Wright nous a concocté une sorte d'antithèse à l'utopie idéalisée du film Once Upon A Time… In Hollywood. Il s’adresse à tous ceux qui ont la tête dans les nuages et qui aiment rêver à la vie qu'ils auraient menée à une autre (« meilleure ») époque. Sauf que chaque époque a ses avantages et ses inconvénients. Ce film d'horreur vise plutôt les amateurs de visuels imaginatifs et de clins d'œil aux œuvres du passé combinées aux tendances modernes, mais ne vous attendez pas à avoir peur. En tout cas, je l'ai trouvé assez agréable et j'aime le repasser visuellement dans ma tête. (02/11/2021)

Last Night in Soho drew me to the cinema thanks to an enticing trailer and an even more enticing cast, so I went to the screening quite excited. At first, I found the film to be an average psychological thriller about delusions and demons of the past, but then the plot began to pick up and the suspense wasn't so much about the thrills as it was about unraveling the mystery set up. Even though I know that "the killer is the butler", the makers still managed to keep me guessing almost to the end, making me enjoy both plot twists all the more. Once again, I have to praise the excellent casting, as well as the 1960s art style and the visuals of the "ghosts". In the end, it's not a pure four stars, but in this case I'll add it. (13/11/2021)

With Scott Pilgrim I considered it part of the game, with Baby Driver I couldn't put my finger on it, and with Last Night in Soho it started to get downright annoying. It's that musical staginess drenched in studio lights, its artificiality accelerated by a digital camera with a high frame rate. If it's worked so far in Wright's previous films, it's because they were kind of musicals in the first place, except that Last Night in Soho has its entire plot built on trying to evoke the spirit of the Swingin' London era, and in this case you can have a wardrobe full of period dresses and tons of period props strewn about the studio, but it's still a totally obvious crying game. Logically, then, what works is one great dance sequence and the amazing Thomasin McKenzie, what doesn't work is, eh, well... the rest of the film. And Matt Smith doesn’t know how to inhale. I appreciate the very original twist that the main monster is actually the patriarchy, which I saw six times in genre films last year alone. (09/02/2022)

Edgar Wright has moved on from geeky parodies and comic books to a paranoid thriller, notching up the first real "serious" notch in his feature film output (Baby Driver is also slightly serious, but...). Last Night in Soho, with its extremely impressive retro-atmosphere, is such an appealing blend of Mulholland Drive and Black Swan. Wright's mannerist directorial style elsewhere doesn't distract this time (and in fact often hangs back in the background), on the other hand the visual imagination is truly stunning and the two protagonists give the performance of a lifetime. And the contrast of the "bovine, innocent, and unblemished country girl" with the spectacular "evil" London as one of the main motifs kept me entertained. The only complaint I might have is the denouement itself, which doesn't feel 100% believable, but doesn't spoil the overall impression too much. An honest and visually damn good genre film. [80%] (19/11/2021)

No everybody will be over the moon about this movie, but it’s certainly worth a watch. This is a masterfully made work. The music, camera, acting performances and, mainly, the sixties feeling works really well and is highly entertaining. And Taylor-Joy is utterly wonderful - I’m even tempted to call her "mystical"; her acting style perfectly suits the era. But in places the movie is disappointing in terms of story. For my taste there was a bit too much hocus pocus and I didn’t like the sickly sweet happy ending, but otherwise it has a nicely psycho atmosphere to it. (20/11/2021)