LAST NIGHT IN SOHO

Edgar Wright has made a name for himself as one of the most exciting filmmakers working today, his films all possessing insane amounts of energy that make them such entertaining pieces of cinema. From the Three Flavours Cornetto trilogy through to Baby Driver, Wright has delivered time and time again, and with Last Night in Soho, he dabs his hand in a bit of horror with mostly great results. 

Eloise (Thomasin McKenzie), an aspiring fashion designer is mysteriously able to enter the 1960s where she encounters a dazzling wannabe singer (Anya Taylor-Joy). But the glamour is not all it appears to be and the dreams of the past start to crack and splinter into something darker.

Last Night in Soho is an intoxicating and haunting film that transports the audience back to 60s London in quite stunning fashion, utilising the blend of old-fashioned and modern rather brilliantly throughout. Edgar Wright has always been a confident filmmaker and it's great to see him flex those muscles, with plenty of flair, in a genre that takes him much further from his comfort zone than ever seen before. 

Wright is no stranger to flair as a director but it makes for the most interesting move of his career to see him putting it to use in what very much passes as a psychological horror film. Chung-hoon Chung's cinematography brings the neon-soaked streets of London to life with such verve, whether it be the 60s or modern era, while Last Night in Soho also possesses a killer soundtrack that just adds further flavour to an already delectable treat, Wright picking up right where he left of with Baby Driver in making the music a vital part of the experience. 

Last Night in Soho is written by Wright and Krysty Wilson-Cairns, who feels incredibly important to proceedings with the film revolving around the male gaze and female trauma. The film just about hangs together in its final act when it culminates with what feels a little out of sorts with the incredibly strong opening and middle acts. There's a mystery to it all so going in blind really might help your experience, especially as marketing material seemed hell bent on giving away some of the film's secrets. Oh, and if you're someone who appreciates jokes about travelling across London, Last Night in Soho is most definitely the film for you. 

Bringing the film to life with such a dynamic leading performance is Thomasin McKenzie, proving yet again why she is one of the most highly regarded young actors working right now. She's vulnerable as Eloise but shows a supreme growth in confidence the more she involves herself in Sandie's 60s escapades. Speaking of Sandie, Anya Taylor-Joy has such a sense of mystery about her that makes her perfect for the figure haunting Eloise's dreams, a delicate figure trying to stand up against the mysogyny of the 60s. Terence Stamp is having a ball playing a mysteriously devious character who Eloise finds suspicious right from the off and it's great to see Diana Rigg light up the screen one last time, her Ms Collins offering Eloise some interesting insights into London in the 60s. 

Edgar Wright's venture into horror with Last Night in Soho isn't without its flaws but he shows plenty of potential within the genre here, aided by two fantastic performances from McKenzie and Taylor-Joy. One things for sure, The Toucan pub best get set for a boom in business after this film gets a wider release.

Verdict: ★★★★