LAST NIGHT IN SOHO (2021)
Featuring an intriguing premise and captivating performances, Last Night in Soho is an entertaining mind-bend of a film that has trouble maintaining its steam, culminating in a lackluster climax.
Aspiring fashion designer Eloise (Thomasin McKenzie) begins having visions of the 1960s where she becomes entangled in the life and affairs of Sandie (Anya Taylor-Joy), leading to a dangerous interest in uncovering the events of the past. What begins as a hypnotic psychological thriller becomes tired as the film progresses, the plot becoming frustratingly convoluted. McKenzie continues to dazzle as a young actress, capturing the innocence and desires of her character and believably spiraling as Last Night in Soho gets crazier and crazier. Juxtaposed against Taylor-Joys intensity and mystery, the two leads are up to the task of bring to life Edgar Wright’s latest. Matt Smith is there, too, but dreadfully underutilized.
While I was hooked from the very beginning and mesmerized by what I was seeing, the overall “twist,” if you will, was largely obvious early on. Once the pieces of the puzzle begin to come together, it was greatly underwhelming and simplistic, an unexpected experience in a Wright film. Still, it’s McKenzie and Taylor-Joy that are the rightful draws here and, with beautiful visuals and use of color, Last Night in Soho is certainly a spectacle to be seen.
Last Night in Soho hits theaters this Friday.
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