To conclude this year's edition of Fright Fest, I present a double feature. First up on the roster: Last Night in SoHo.
This is without a doubt Edgar Wright's most stylistic and surreal film. Eloise (Thomasin McKenzie), A young clairvoyant, attends fashion college in London. Her "gift" enables her (via her dreams) to track Sandy (Anya Taylor-Joy), a beautiful and talented aspiring singer in the 60s. As Eloise grows more obsessed with the past, Sandy's story turns dark and Eloise's dreams begin to bleed into her waking life.
Anya Taylor-Joy steals the show. Most should know she is an incredibly talented actress, but here she proves she can sing and dance as well. Her story and arc are intriguing, and it's hard not to grow obsessed like Eloise. Thomasin McKenzie is great as our lead. Not only is she tormented by her dreams, but by the possibility they might just be dreams after all. McKenzie gets to do some physical work near the end, and she does a fantastic job of portraying terror throughout the film.
The supporting cast all do pretty solid jobs as well. Michael Ajao is very likable as the friendly and dependable John, love interest for Eloise. Terence Stamp (Zod in Superman 2) plays a mysterious older man who might be involved in Sandy's story. Matt Smith Plays Jack, Sandy's "manager" (He's fantastic in a slimy role). Diana Rigg plays the old land lady of the apartment Eloise rents. This was Rigg's final role, and she impresses.
Edgar Wright directs and co-writes along with Krysty Wilson-Cairns (who penned the screenplay for 1917). The script is fine but Wright's direction, the cinematography (by Chung-hoon Chung), and the editing (by Paul Machliss) are the stand-outs. Wright and production designer Marcus Rowland do an A+ job of recreating London in the 60's. The sets, the costumes, the dances...You will feel as immersed in that era as Eloise does.
Last Night in SoHo is not without some substance to it. The story is pretty interesting and doesn't always go where you think it would. The characters are very well developed too. That said, this is an Edgar Wright film, so the style takes center stage most of the time.
The first act teases at this being another semi-musical as there are several song-and-dance numbers, and while this aspect is eventually dropped, Wright still finds ways to use songs to inform or compliment what is happening on screen. It’s a skill that Wright has enjoyed flexing ever since Shaun of The Dead, and he’s only gotten better at it over time.
SoHo is Wright’s return to horror after 17 years. Unlike Shaun before it, SoHo is less interested in humor. It takes itself fairly seriously, and the humor (when there is any) rarely takes center stage. It takes a while before SoHo goes full horror, but once it does the film doesn’t hold back. The horror sequences are intense and well-done (the climax in particular is striking and memorable).
Last Night in SoHo is clearly influenced by Giallos (Italian horror flicks like Demons, Profondo Rosso/Deep Red, and Tenebrae) and supernatural horror. The bright, vibrant colors that pulse throughout the film and the numerous stylish mirror tricks are highlights.
There is much to love in SoHo, but unfortunately not everything is peachy. The third act finale starts off strong but ends in a way that isn't fully satisfying. Everything doesn't gel smoothly together or fully coheres by the end credits, either. Luckily, Last Night in SoHo is a lot of freaky fun while it's on. The style always mesmerizes, the story/mystery easily pulls you in, and the performances are great (with Joy stealing the show).
SoHo isn't Wright's best. It sees the director trying something different for a change, and the results are mixed. That said, there is still a lot to enjoy here. Wright knows how to show audiences a good time, and should you choose to trek back into the 60s with him, that is exactly what you will have.o conclude this year's edition of Fright Fest, I present a double feature. First up: Last Night in SoHo.
3.5 STARS
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