After years of making comedy films and exploring various genres, Edgar Wright finally made a horror-thriller film called Last Night in Soho by inviting Anya Taylor-Joy and Thomasin McKenzie in it.
Having a very unique plot , Ellie (Thomasin McKenzie) takes us to Soho in the 60s through the figure of Andie (Anya Taylor-Joy) who are somehow spiritually connected to each other.
Although taken to the direction of horror-thriller, Edgar Wright still inserts comedy dialogues wrapped in satire. For example, how the small talk between Ellie and her roommate seems to offend young people today who are trying to compete that their life is the most unfortunate among others in order to get the attention of people around them.
You could say, the whole story is a social commentary for young people who are really trying to become other people to be able to pursue their hopes and dreams.
The film’s storytelling is carried a bit like Cruella , plus its use of the city of London in the 1960s. Edgar Wright’s writing is very good, it can be seen from how throughout the film we are really made to guess whether Ellie is hallucinating or is she being haunted supernaturally?
Even so, whatever choice is taken, this film manages to bring us to feel what Ellie feels, desperately needs help .
This very Edgar Wright cinematography still looks very classy even though it is applied to a horror film. One of them is when the dancing scene alternates roles between Ellie and Sandie which is done with one take.
Edgar Wright seems to have adapted Suspiria a lot as his main visual reference. He also brings some elements of Roman Polanski’s Repulsion into this film. No wonder, even though it is on a supernatural level, the tensions that are brought are at a psychological level.
The soundtrack selection in this film is very distinctive and precise, as did Edgar Wright in the film Baby Driver or Scott Pilgrim vs. the World .
Last Night in Soho can be an alternative to watching a horror-thriller movie with Edgar Wright’s style in it.