“Last Night in Soho” is a stylized psychological thriller that revels in the nostalgia of London and 1960’s culture, adding a unique credit to Director Edgar Wright’s filmography.
As in other Wright films like “Scott Pilgrim vs. the World” or “Baby Driver,” the soundtrack of “Last Night in Soho” is a player in creating the world’s ambience, driving the narrative world as much as any character. More so than his previous films, however, the visual and directing influence of other genre films is patent, with Wright admitting as much of his development of the movie. Also unlike Wright’s other films, “Last Night in Soho” is told through near fever dreams guiding its story with looser plot points or character dialogue. Or rather, the character development is primarily through the expressive and emotional highs and lows of its cast. Thomasin McKenzie, Anya Taylor-Joy, and Matt Smith are the trio of cast members who deliver these moments, but Anya Taylor-Joy might be fairly described as the underlying lynchpin to the formula.
Wardrobe, music, lighting, colors, and London itself powers “Last Night in Soho’s” genre bona fides, using its main character Eloise to hauntingly blend past and present. The film is fittingly dedicated to Diana Rigg and her last performance that surprisingly helps deliver the film’s crescendo. Splendid cinematography and a core of reverence for its subject matter and inspirations make “Last Night in Soho” a smooth psychedelic experience worth the watch.