Last Night in Soho - Hyperactive & Haunting

 

For rent on Apple TV, Amazon, Google Play, and YouTube

    Director Edgar Wright, late of Shaun of the Dead and Baby Driver,  is probably one of the more eclectic directors today. His almost hyperactive sense of style, combined with his precise focus on narrative, makes him a director worth getting excited for. Unlike some other directors I could mention, *cough* Michael Bay *cough*. Up until now, his primary focus has been on action/comedies and parody-style stories. All with a sense of homage and love-letter writing to the genres and references utilized. His latest offering, Last Night in Soho, may not be his first step into the more grounded psychological thriller genre, but it is one he seems well suited for, despite not quite hitting the mark. It's still entertaining and well crafted, as you might expect from an Edgar Wright film, but it needed to be reined in just a little bit. 

    The story follows a young girl named Eloise (Thomasin McKenzie), an enthusiast for 60s rock & roll music attending school in London to study fashion design. She appears to be dealing with some past emotional trauma about her late mother, causing concern about her ability to handle the big city (having lived in the countryside most of her life). Eloise decides to rent a room close to school rather than remain in her crowded dorm upon arriving in London. Things seem to be moving along well, until one night, she finds herself witnessing the experiences of another young woman, in the 1960s, named Sandie (Anya Taylor-Joy), an aspiring singer who finds herself trapped in the service of sleazy men. Over time, it becomes unclear if these are merely dreams of something more, prompting Eloise to investigate Sandie's life and solve an old mystery before it consumes her. 

    The film is a solid thriller with creative use of production design and color. It feels like the closest thing to a waking dream or even an acid trip. Appropriate given the 1960s aesthetics. Oddly enough, throughout the film's runtime, I was reminded of a similar haunting thriller, The Changeling from 1980, starring George C. Scott. Both films follow emotionally traumatized artists who find themselves in a mysterious environment that seems to haunt them somehow. Except, Last Night in Soho kicks things up a notch. 

    The two leading ladies are spectacular. Both Thomasin McKenzie and Anya Taylor-Joy shine with conviction and wild energy bringing their characters to visceral life. Although, in my opinion, the MVP award goes to Michael Ajao for playing the best possible supporting character. Also, he gives the film a million bonus points for having a supporting character of color who doesn't die for no justifiable reason. 

    While the film overall is well crafted, as you might expect from Edgar Wright, it's not entirely great. 

    A little while before the third act comes around, the film goes completely overboard with the "haunting" element. To the point where it starts to feel less creepy & chilling and becomes goofier by the minute. Moments that are supposed to be scary come off as parody almost. I understand the intention, but psychological thrillers typically require a "less is more" approach for the best possible results. Edgar Wright seems incapable or unwilling to turn things down when needed. This isn't a bad quality for the kinds of films he usually makes, but it doesn't seem to do him any favors with psychological thrillers, which is precisely what this film wants to be. 

    Last Night in Soho is the valiant effort of an uber-talented director trying to step out of his comfort zone. It may not land as well as intended, but it's still a solid piece of work (mostly) with more than a few redeeming qualities here and there. If you're in the mood for an excellent new thriller, check this one out. Then, for comparison, check out The Changeling. It's amazing how similar yet different they are. 

Ladies & gentlemen, I am TheNorm; thank you all for reading.