A typically stylish Edgar Wright film with all his sensibilities, quirks, needle drops and signature shots, but this time make it a Swinging 60s, noir-tinged, psychological horror thriller. Taking it as just that level, this film was an enjoyable ride - good scares, intriguing central mystery, albeit slightly predictable, and gorgeously shot, designed and produced. The film moved along at a clipped pace with efficient storytelling led by a fantastic Thomasin McKenzie and a strong, confident performance by Anya Taylor-Joy whose beauty and poise, for once, worked for her in this role. However, looking beyond those superficial thrills, Last Night in Soho lacked character depth and emotional resonance, and as a #MeToo tale, it lacked bite and urgency, paying only lip service to the #MeToo movement.
Wright films have always had a distinctive tone and voice which garnered him lots of fans but also tend to alienate some folks who find his shows just a bit too glib, too tongue-in-cheek and too stylised. Although, it is these same characteristics that draw in his fans. We see the script as witty and cheeky, dry and wry, with effective use of music to drive the scene, story and narrative - although sometime just a tad too on the nose, but Wright always seemed to be very well aware of that - and the style of film making almost always made his films fun to watch and excitingly different to experience.
McKenzie was brilliant. Ever since her breakout role in Leave No Trace, McKenzie had been a star-in-the-making and a young actress to watch out for. Jojo Rabbit further cemented her acting chops and this film just raise it up further. She has an endearing charisma coupled with an innocence that seemed natural but yet laced with a tinge of hardness and fearlessness. All of which were put into good use in this film as her character progressed from a naïve country girl to a haunted city gal.
Taylor-Joy, on the other hand, had always exuded beauty and allure. The Queen's Gambit had established her bona fides, but it seemed that she is running the risk of being typecast and this role, though playing to her strength, did little to help her expend her repertoire. Other than maybe she might do well in a musical next. Her role here was like a compressed version of Elizabeth Harmon - strong and confident, then depressed and self-loathing/doubting, and back to strength. But undoubtedly, Taylor-Joy has a magnetic presence that just draws your attention.
The last key player in this film was Chung Chung-hoon, the cinematographer. This whole film was sumptuous. One of Wright's most gorgeous film, reminiscent of noir-esque a Wong Kar Wai. No surprise then that Chung's filmography included Park Chan-Wook's Vengence Trilogy. The Handmaiden and Stoker. He is also the cinematographer for the upcoming Disney+ Obi-Wan Kenobi series which will be exciting.
Like Wright's previous films, music played an important role and he had curated an excellent soundtrack that really evoked the atmosphere and mood of the 60s. Composer Steven Price's score was also equally haunting and evocative.
Also kudos to the Costume Design and Production Design team for a great job in recreating the 60s!
Last Night in Soho was a fun and entertaining little horror thriller bolstered by great performances and brilliant craftmenship, but thinking too hard into it revealed its flaws and superficiality.
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