Last Night in Soho TIFF Review: Edgar Wright’s Beautifully Crafted London Love Letter Bites More Than It Can Chew

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Not many filmmakers are as eager to show their own love of film through their own work like Edgar Wright can be. In Last Night in Soho, he moves away from comedy completely to make a horror film, yet also an obvious love letter to a city he’s stated that he had fallen in love with over the years. With that in mind, you can only expect that Last Night in Soho would be bound to become maybe Edgar Wright’s most ambitious feature to date, though the result isn’t always successful. Despite this, there’s still a lot worth loving about what Edgar Wright brings to the table in this journey back through London in the 1960’s.

A fitting note for the film to start can be found in Thomasin Mckenzie’s Eloise Turner dancing to Peter and Gordon’s “A World Without Love.” Her character is an ambitious fashion student, moving to London to pursue her studies, but in her new home she finds herself able to see a vision of London from the 1960’s, where she embodies a new persona. This new persona is none other than Anya Taylor-Joy’s Sandy, an aspiring singer, whom Eloise idolizes – and forms the basis of her designs. To Eloise, the 1960’s was an era she evidently obsesses over, as shown from the film’s soundtrack, but the more she sees from Sandy’s perspective the dream she once thought of only reveals a terrifying history.

From looking at a trailer for Last Night in Soho, it’d be easy enough to assume that Edgar Wright would be getting his influence from the giallo films of Dario Argento and the like, but instead what I saw was a portrait of London owing more to Nicolas Roeg’s Don’t Look Now and Roman Polanski’s Repulsion (both of which are among Edgar Wright’s favourite films). While Wright certainly is a filmmaker who knows how to make the most out of his influences, the core of his own works is one that seems somewhat lacking. Nonetheless, together with the work of Chung-hoon Chung (a regular cinematographer of South Korean filmmaker Park Chan-wook), what’s brought out from Last Night in Soho is among the most beautiful that an Edgar Wright film has looked.

There’s a lot that could be done with a premise of this sort, where an aspiring fashion designer travels back in time to see an era where she got her inspiration for what it really is. The horrifying reality of her own dreams is what in turn makes for an interesting turn for Edgar Wright in the long run, but with how Wright delivers on these scares, it leaves his message fumbling onward. As far as Wright’s films have gone, this might be the most he’s ever been able to embrace the gore but there’s only so much to go when talking about what Wright brings out in that regard. For as extreme as he can get with the infliction of violence and its cyclical and traumatic effect upon future generations, its message only finds itself muddled – both in its final moments and the framing of the film as a love letter to London in the 1960’s.

Edgar Wright has never been one to let down with the erratic nature of how his films are put together, although there came a point in Last Night in Soho where I feel like the film would have benefited from having that same energy felt in his Cornetto films. When watching Hot Fuzz or Shaun of the Dead and the like, the core of those films feels so clear in how they are willing to engage with a familiar text yet felt subversive enough in a way that could only be attributed to Wright. But Last Night in Soho lacks that same punch. I say this in the sense that what the film turns into is nothing more than a generic ghost story about a cycle of violence that has targeted women, and exploited them, but to talk about how these moments are framed seems to leave behind an icky aftertaste – especially when talking how it all pays off in its twist ending. The images repeat, continuously torturing its lead character, but they leave little of substance.

I don’t wish to dwell so heavily on the negatives, though, because you’re bound to have fun with watching an Edgar Wright movie in some capacity. Wright brings out great work from both Thomasin Mckenzie and Anya Taylor-Joy. But it’s worth noting that in their final performances, the late Margaret Nolan and Diana Rigg deliver with what little they have to show in here. But for as stacked as this cast was, there’s a lot of fun to be had with Matt Smith and Terence Stamp in their just as impactful roles. If anything, what you’re seeing out of them can be enough to leave you thrown off for the many surprises that come along the way. Wright brings the most out of his astoundingly stacked cast, and they all deliver.

It should not be any surprise that Last Night in Soho may turn out polarizing at the time of its wide release. For all the beautiful moments that Edgar Wright dedicates into creating this loving tribute to the city he loves, the message he delivers is one that feels quite messy. Yet maybe that was the goal, because it does its job at putting his viewers in an emotionally difficult spot, which is fitting when you consider Wright’s approach to its gender politics. Wright’s craft is as vibrant as it’s ever been since his collaborations with Simon Pegg, but perhaps his ideas don’t blend well with that aesthetic. I’m interested to see what comes in the near future for Edgar Wright with genre fare, even if my own reservations ultimately keep me from believing this is completely within the right step.


Watch the trailer right here.

All images via Focus Features.


Directed by Edgar Wright
Screenplay by Edgar Wright, Krysty Wilson-Cairns
Produced by Nira Park, Tim Bevan, Eric Fellner, Edgar Wright
Starring Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Michael Ajao, Terence Stamp, Margaret Nolan, Diana Rigg
Release Date: October 29, 2021
Running Time: 116 minutes

‘Jojo Rabbit’ TIFF Review: Taika Waititi’s Anti-Hate Satire is Blunt, But Effective

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Taika Waititi’s anti-hate satire, as advertised extensively, is a different sort of coming-of-age film but as one would know from the sense of humour that Waititi’s career has been built upon, there’s also a whole lot to be admired about the risks that Waititi could already find himself facing when tackling a subject of this sort. There are a whole load of laughs to be had with watching Jojo Rabbit, like all the best of Taika Waititi’s past films but this is where he finds himself taking on a subject of yet another sort of scope. This is a film that’s clearly been made through the eyes of someone whose own people had been so visibly damaged in the past, but given the sort of risks that there’s another point where he clearly wants to broaden the reach of the film’s message by trying to reach out to a younger audience. To a certain extent, it works perfectly – because there’s not a single moment in Jojo Rabbit where I didn’t find myself laughing my heart out. For a movie about the Hitler Youth, it’s very funny, charming, and even sweet too, a nice crowdpleaser for what it’s worth.

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2018: Another Year of Cinema Come and Gone

This year was a real game changer for a person like myself. To kick things off, it was the first year in which I was able to attend TIFF as a press member rather than as any other audience member. It was a defining moment for myself, though I don’t want to brag a little too much about what happened there. It was just a good year for cinema in general. That’s all I can really say, and I want to bring more attention to the many films that I absolutely loved this year – and so many of them came around this year and so forth. We’re already nearing the end of a decade, and through the good and the bad, the cinema has always been able to provide nothing but the greatest pleasures through and through. Although as we look through the films that have come to define 2018 as a whole, there were many surprises that came along the way just as there were disappointments – all of which came in between the very best and the worst in cinema through the year. So without further ado, let us begin. Continue reading →