TIFF 2021: Last Night in Soho Review

This will be one of many reviews during this year’s Toronto International Film Festival, to keep up with our latest coverage, click here.

Mostly known for cult films, writer/director Edgar Wright has developed quite the following among moviegoers. Besides The Sparks Brothers from earlier this year, his fans have been eagerly anticipating his next feature film. Perhaps a departure from what we are accustomed to from the filmmaker, Last Night in Soho is his first horror film and a passion project of his. Those concerned with how this latest film will fit within the rest of his filmography, this latest entry features that same signature style of his. Not only does the film look good, it also has an excellent soundtrack to boot. A gripping rollercoaster with plenty of twists and turns as it takes audiences across the streets of 1960s and present day London, the film also offers a surprising amount of depth as it grounds the story in themes that should resonate with a lot of audiences. It also doesn’t hurt to be led by two of the hottest young actresses in Thomasin McKenzie and Anya Taylor-Joy.

Last Night in Soho tells the story of an aspiring fashion designer named Eloise (McKenzie) who mysteriously develops the power to appear in the 1960s, the decade of her dreams through the eyes of an aspiring singer named Sandy (Taylor-Joy). The allure of the time was attractive to her as it gave her an escape from her present circumstances, however, that dream soon became a nightmare as the glitz and glamour she had only heard and read about gave way to the dark truth about the time period. Jumping back and forth between the past and the present, only further fractured the psyche of an already fragile young woman. Haunted by the demons of the past, Eloise had to dig deep and solve the mysteries of the past in order to makes sense of the present and her future.

The neon-soaked aesthetic made for a perfect backdrop for this story that often played more like a thriller than a horror film. That being said, it did have its fair share of horror elements and imagery that will surely lead to some jumps. Meanwhile, the score and soundtrack also contributed nicely to the film’s uncomfortable atmosphere, keeping audiences on edge from beginning to end. Breaking up those moments were some moments of levity very much in the vein of Wright’s past work. Ultimately, the best part of Last Night in Soho was the performances from McKenzie, Taylor-Joy, and Diana Rigg in her final film role. All three were absolute forces in their own ways. McKenzie was a compelling lead as Eloise who was put through the ringer emotionally and physically. Taylor-Joy and her incredible screen presence as Sandy made it hard not to look away as she was more of an idea than an actual character. Rigg as Miss Collins made a scene-stealing impact in a limited role.

In the end, this will probably not be the last night we hear about Last Night in Soho.

 still courtesy of Focus Features

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Keith Noakes

The EIC of the coincidentally-named keithlovesmovies.com. A Canadian who prefers to get out of the cold and into the warmth of a movie theatre.