Edgar Wright’s deep dive of Soho is an exquisitely made thriller that changes the pace and direction of the room for its entire runtime. It seems that giallo cinema, or at the very least giallo inspired cinema, is making a strange and welcome come back and its doing so by way of auteur directors who are giving us something that is totally off the barometer of what is mainstream. Both, Wright’s Last Night in Soho and James Wan’s Malignant have come out swinging on a return to gialli films and a new wave in a cinematic blast.
Last Night in Soho follows small town Eloise to Central London with big dreams of becoming a fashion designer. Upon arrival, she discovers that she is a little more old fashioned when it comes to music tastes and her social life. After discovering that she isn’t going to fit in with her party all night, bullying roommates, she decides to rent a room belonging to a nice older lady who shares a lot more of Eloise qualities than girls her own age.
It really doesn’t take Wright to turn up the stylistic dial to 11 and sweep Eloise back to swinging 60’s London. Wright achieves this by placing Eloise within the shoes of the beautiful soul singing, Sandy (Anya Taylor-Joy). Sandy matches Eloise in pretty much all the ways a new to the big ciy dreamer could.
Wright does an incredible job of technically putting Eloise and Sandy in the same shoes. An immense amount of in camera magic was used to place both girls in the same place at the same time.
Both Anya Taylor-Joy and Thomasin McKenzie are incredibly moving in their respective roles. Each bringing with it their own heartbreaking turns in the world where dreams are crushed willy nilly and hopes and dreams are quickly shoved under the carpet.
All isn’t as it seems with the beautiful Sandy. Jack (Matt Smith) is promising Sandy stardom in London and might not be up to snuff. However, Smith plays his classic and superb debonair approach to the role of Jack too charming for Eloise or an audience to resist. The former Doctor Who star is truly working magical charm all over the place in the film’s first act.
The moving pieces all set up for a thriller that keeps the audience on their toes as the film bobs and weaves under and above expectations.
Last Night in Soho is incredibly rich in its design and colors. The best of Argento and Bava definitely come to mind. A gialli blueprint for all out style is used wonderfully by Wright who proves he is a true student and master of the sub-genre.
I’m in love with the era of the sixties in Central London. Wright does a painstakingly, awe- inspired recreation of the world and lets us live in it right along side Eloise.
Both Diana Rigg and Terrence Stamp add their classic presence, heart and even sinister side to the film. Both amazing classic actors are at the top of their games offering a big part of their cinematic fingerprints in incredible ways.
The film is as heart-wrenching as it is wonderfully comprised. The writing for SOHO goes a long way for keeping us deeply grounded with its characters. By the finale, Wright convinces the audience to all but fight for the lead. A remarkable writing achievement and brought home by the whirlwind of beauty and grace that both Joy and McKenzie bring to their roles.
Last Night in Soho keeps everyone on the edge of their seat by way of making us fall in love with its two main characters. By the end of the film, no fault can be found in Eloise or Sandy. The horrors of the film, go from the cold-blooded killer type to the supernatural in single beats. Wright orchestrates those break neck turns in genre masterfully throughout.
Last Night in Soho will go down in my top 10 of the year. Much like Wright’s other films it begs to immediately be watched and re-watched. It’s a horror film that ups the ante around every single corner it takes and constantly shocks in delightful ways. Wright’s film is elegant, electric and all out chilling . It will reintroduce audiences to giallo films and there isn’t anything more I could ask for.
