LAST NIGHT IN SOHO THRILLS @TIFF2021

Director Edgar Wright has been able to charm moviegoers and cinephiles over the years. With films like Shaun of the Dead, Hot Fuzz and his most recent Baby Driver, the director crosses genres seamlessly. His lastest work Last Night in Soho making its premiere at TIFF is where he dives in uncharted territory.

The film does not drown in another genre bending or blending attempt of Edgar Wright. Rather its swims up to be a psychological thriller of a different kind. It respectfully resembles a starting point for filmmakers in this post-lockdown era. The film does speak to the audience on so many levels. Although, it cautions them to mindful of their dreams that can easily turn into nightmares.

Thomasin McKenzie plays Eloise who embarks on a new journey in her life. She is a 1960s obsessed young girl moving from the countryside to study fashion in a prestigious academy in London. She tries to fit in where she can and despite having cliqué classmates. So she finds a flat to rent where she can study and play her favourite music from the 60s. The flat is located on Goodge street in Soho where Eloise dreams start to come true.

When she goes to bed at night she becomes Sandy. A singer adamant in getting a spot in Café de Paris on Coventry street. Anya Taylor Joy plays the songstress vixen who tries to swindle club owner Jack in helping her to stardom. Matt Smith plays the owner as you see The Crown actor have much chemistry with Anya Taylor Joy. Their romance ascends through a barrage of vintage 60s music that has Eloise in La La Land. But as her dreams continues to focus on the story of Sandy, Eloise starts to dive into darkness which elludes Eloise from the reason why she is in Soho in the first place.

At first Eloise is getting things right at the academy as she makes a dress that she sees Sandy in. Eloise slowly begins to look like her by turning blonde and buying clothes that are out her financial league. Simultaneously, Sandy’s world dives into the depts of debauchery where many men woo her with drinks and their masculinity.

Eloise begins to realize the many skeletons in Sandy’s closet that appear in front of her own eyes in her flat. These ghouls from the past spook Eloise to the point where she witnesses an unsolved murder. Eloise’s world then becomes one where she is hysterical detective rather than a famous fashion designer.

Last Night in Soho is a modern day psychological thriller that takes place in a fine time. It’s one of those films where someone becomes obsessed with someone else but has the Edgar Wright stylistic craftsmanship. Sequences where they resememble one another is captivating. The use of the mirror in different angles persuades the audience at the end that they are one person. Visually Thomasin McKenze and Anya Taylor Joy look different but their mannerisms filmed are the same and to the point. It’s spooky that these two are alike.

The premise would have you thinking of influences such as The Talented Mr. Ripley, Being John Malkovich and Black Swan. But Last Night in Soho has that Hitchcock vibe to the film. The angles are pertinent to reflect the madness both Eloise and Sandy are going through simultaenously. It’s actually slick looking and gives jealousy and idolization a different brand. Edgar Wright would not been able to pull this film out of the water. It’s that breath of fresh air from both Thomasin McKenzie and Anya Taylor Joy.

Last Night in Soho has many twists and turns that any average moviegoer should be able to handle. Director Edgar Wright does give respect to his audience and his film so they are not lost in the shuffle. Right now with this type of film and with this great ensemble, he is not able to afford that loss.