One Thing I Like About Last Night in Soho

An over-saturated experiment in style that was much more entertaining than I’d expected.

An official still from the movie "Last Night In Soho" in which Thomasin McKenzie as Ellie looks terrified at something off frame

I wasn’t expecting to like Last Night in Soho as much as I did. Before its release, it seemed to be getting a ton of buzz and promotion, and then it just kind of disappeared. I assumed that must mean the movie was a disappointment.

And I can understand people being disappointed, if they were watching it as the type of mystery/thriller that could work on the strength of its screenplay alone, no matter who was directing it. I went in expecting it to be a case of “style over substance,” and I ended up enjoying it a lot, for exactly that reason.

It doesn’t have the energy, inventiveness, or reckless abandon as Scott Pilgrim vs the World (by far my favorite Edgar Wright movie, and one of my favorite movies overall), but it is recognizable as coming from the same place: a filmmaker with an unabashed love of music and movies and a desire to share and celebrate all the stuff that inspires him.

I’m not quite as big a fan of Wright’s work as My Demographic would suggest — I liked but didn’t love “The Cornetto Trilogy”, and Spaced remains baffling, since on paper it seems like it should’ve been my favorite series ever, but I bounced right off of it. But one thing that’s common to all of them that I’ve seen1I haven’t yet seen Baby Driver is that they feel unapologetically like fan letters.

In Last Night in Soho, the objects of affection are 1960s London and giallo movies. But even more than Suspiria — which I think is the only “genuine” giallo movie I’ve seen — it reminded me of Malignant, which came out around the same time and feels like a “companion piece,” in case you’re planning a double feature2And is a lot more fun, honestly, if you haven’t seen it and can only choose one of the two.. They’re not even in quite the same genre, since Soho is much more a mystery/thriller, of the kind they used to make in the late 1980s with titles like Lethal Obsession or Consequences of Passion, than a full-on horror movie. But they are both examples of filmmakers who earned the luxury of making a movie mostly for themselves, broadcasting their inspirations right out in the open with little attempt to hide them, and giving the entire project their personal voice.

And they both require the audience to just go with it. Last Night in Soho is a lot more subtle in telling you that it’s not meant to be taken entirely seriously, even though it starts dropping hints in its first scene with suggestions of the paranormal. (Malignant starts out with a hilariously gothic castle in Seattle (?) and an over-the-top medical procedure, cluing you in from the start that things are going to be wacky). But everything in Soho is dialed up just a little too high — Ellie is a bit too into the 60s, the cab driver is a bit too leering, Jocasta is just too relentlessly an intolerable C-word, Terrence Stamp’s old man absurdly too sinister, Diana Rigg’s landlord too curmudgeonly and old-fashioned to be taken as anything other than a stock character.3How brilliant was that casting for Stamp and Rigg in a 1960s London throwback, by the way?

It gets more overt in the first dream sequence, which feels like the sequence that the entire movie was built around4And which it never quite lives up to again, unfortunately.. The entire room is saturated with red or blue light, which lets you know that the filmmakers have seen Suspiria, and the blinking is in time to the song playing on a record player, which lets you know it’s an Edgar Wright movie. What follows is a gloriously romanticized version of 1960s London, presented by someone who clearly believed the lights, fashion, music, cars, and just style of that period was both impossibly magical and also a little sinister.

The highlight is a meticulously-choreographed spectacle of mirror effects, character introductions, banter, dancing, actors switching positions, and tons of directorial flourishes. It’d be easy to point to it as the prime example of style over substance, but of course it’s not; it’s the “mission statement” of the entire movie. It lets the audience feel why Sandie was so optimistic and enchanted with London, why Ellie became so obsessed with her, and why Wright was so taken with all of it that he wanted to make this movie in the first place.

But while it’s my favorite sequence, it’s not what I thought made the whole movie distinctive. That’s in the rest of the movie, the sequences that don’t work as well, but show (what I assume are) Wright’s interests throughout: music, pubs, being a young person in London, and yes, hordes of the reanimated dead. I can understand the complaint that none of it feels “real,” that a lot of the third act is repetitious, or that the movie feels like a pastiche of its inspirations instead of an attempt to build on or reinvent them. But to me, it all felt like it came from a genuine love of those inspirations and an earnest desire to share that enthusiasm with the audience.

  • 1
    I haven’t yet seen Baby Driver
  • 2
    And is a lot more fun, honestly, if you haven’t seen it and can only choose one of the two.
  • 3
    How brilliant was that casting for Stamp and Rigg in a 1960s London throwback, by the way?
  • 4
    And which it never quite lives up to again, unfortunately.