Aspiring fashion designer Ellie (Thomasin McKenzie) moves to London for college but has trouble fitting in. However, when the sun goes down and she drifts to sleep, she is mysteriously transported to the 1960s’, where she encounters the dazzling singer, Sandy (Anya Taylor-Joy). Following Sandy and her manager/ boyfriend Jack (Matt Smith), Ellie gets to experience nightlife in Soho that inspires and affects her in the present. However, the glamour is not all it appears to be, and the dreams of the past start to crack and splinter into something far darker as Ellie uncovers a horrifying mystery.
The recent trend of obsession for nostalgia has certainly made its place in modern media, but Last Night in Soho‘s take on it goes in a much darker direction. If there was ever a filmmaker that continues to make unique spins on classic genres, it would be British writer/director Edgar Wright. The writing team of Wright and Krysty Wilson-Cairns brought together a very non-comedic homage of 70’s Italian horror movies, such as Suspiria, and British psychological thrillers like Repulsion. The Swinging Sixties was fantastically brought to life with amazing cinematography and set design, as we get to see Ellie, played brilliantly by McKenzie, slowly face the very tragic and often frightening reality of London life as the hypnotizingly wonderful Taylor-Joy chases her dreams in an environment that is still, unfortunately, relevant to this day. However, the mystery aspect of the story often feels rushed and not quite fully developed, with a lot of intriguing ideas being thrown together in a payoff that feels somewhat predictable.
Overall, Last Night in Soho is another enthralling journey from Edgar Wright as the two leads bring fantastic performances in an homage to the sixties and its culture and the horrifying thrillers. While it feels a bit rushed as it wraps up the mystery, it still comes together in a unique and memorable trip to the past.
Last Night in Soho is in Australian cinemas now.