Director Edgar Wright is one of my favorite working filmmakers. His Cornetto trilogy, which consists of Shaun of the Dead, Hot Fuzz, and The World’s End would each probably land in my top-20 comedies of all time. Baby Driver and Scot Pilgrim vs. the World are pretty good too! Just because of his track record, I’m always on board to see whatever he has up his sleeve. Unfortunately for my tastes, what he had up his sleeve this time around in Last Night in Soho was not to my liking.
I don’t have much to say on this one, so I’ll keep it short. Wright’s new horror-thriller was too noncommittal for me. It creates a central mystery when Eloise (Thomasin McKenzie) moves to London and begins to possibly time travel to ‘60s London, which is populated with Sandie (Anya-Taylor Joy) and Jack (Matt Smith), but it keeps you guessing — or, should I say confused — for way too much of its runtime. This just makes it next to impossible to follow what it’s trying to do thematically or stylistically.
For me, Last Night in Soho is too unfocused. It has a lot of ideas it wants to explore and pulls from lots of movies throughout history, but in the end, I see it as more referential than original. And its decision to turn into a #MeToo story feels ill-advised and out of left field.
But if you’re predisposed to like Wright’s work, you’ll probably find a few things to enjoy here. He goes all-out with his visual flourishes, and his use of reflections is definitely effective. His signature use of soundtrack is also present all the way through. Sadly, it’s just that none of this adds to the movie’s theme like it has in the past. So if you’re a fan of Edgar Wright, it’s still worth seeing Last Night in Soho. Maybe just don’t go in expecting his next masterpiece.