New to London, a young female student mysteriously connects, through dark and haunting visions, with a young female aspiring singer from the 1960s.
Impressive visuals and sounds in an unnecessarily convoluted story. Didn’t really feel like an Edgar Wright film, to be honest. No particular lengthy tracking shots, no editing with invisible cuts that extend an unnatural continuity… but then… after the first plot point… upon Eloise’s/Sandie’s entrance to the club… there are some daring shots and filmmaking techniques to be discussed, namely the dancing sequence between the two ladies and Jack.
From then on, what’s going on starts becoming transparent in a visually interesting and intricate way. Yeah, but is it transparent? Is it her mother’s condition, and now hers? There is a difference between “misleading” and “manipulating”, and I’m a bigger fan of the latter because it requires preparation and, in the end, if done successfully, it can leave the audience’s mouth agape. If not, the result might be just… meh! Regarding misleading the audience, though, if the reason for doing it is not solid, and if not done successfully, it can cause aggravation, and it can be perceived as cheap and insulting. So, in my humble opinion, unless the filmmakers have a solid reason, it should be avoided.
Without spoiling it for you, Last Night in Soho is misleading when it could have been avoided. Eloise and Sandie could have been something more feasible and real, but it is still terrifying even when you know what it is. I wish I could elaborate on that more, but for more, please, have a look at (the not-without-flaws) Sucker Punch (2011).
Don’t be discouraged from watching it, though. The visuals and sounds may not compensate completely for what I just mentioned above, but they are rich and challenging. Writer Krysty Wilson-Cairns and writer/director Edgar Wright manage to recreate a fantastic 60s London atmosphere that is not easy at all. The photography, the costume designs, the make-up and hairstyles, the editing, and the soundtrack are beyond impressive and offer the intended cinematic experience. Furthermore, Thomasin McKenzie (who I couldn’t stop comparing her looks and acting to Abigail Breslin’s), Anya Taylor-Joy, Michael Ajao, Matt Smith, Terence Stamp, the late Diana Rigg (this was her last film), and the rest of the cast shine in front of the camera.
Losing oneself in the pursuit of happiness will always be more than one has bargained for. Intuitive writers and directors have limitless ways of expressing that haunting journey. Of course, the same can be said for the broader sense of the paranormal. See and decide for yourselves which one could have been the more dominant scenario here.
P.S. My worst experience working in Soho was, upon finishing at 03:00, walking to Trafalgar Square, waiting for the night bus for half an hour, and then being on it for another hour (amongst various characters) until I made it to Northwest London.
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You have made this sound so interesting but with this story matter it will be way down the list.