“Last Night in Soho” (2021)
After much searching, I finally found a cinema near me that, amidst a lineup of popular movies like “Dune,” “Eternals,” and “James Bond,” had saved a room for “Last Night in Soho.” Having watched the movie, I have to say that it has left me even more frustrated about the lack of attention it received.
“Last Night in Soho” is one of the year’s best films and my favourite of 2021. Not only is it stunning in every technical aspect, but it is also fresh and another masterclass in filmmaking by Edgar Wright, who, in my opinion, has never made a bad movie.
Wright’s unique eye and storytelling style give a pulse to his movies, bringing them to life through camera work, cinematography, editing, and sound.
The way these elements work together in a symbiotic way is genuinely remarkable and results in something that no element alone could achieve.
Wright’s ability to select the right talent to surround him behind and in front of the camera is also impressive. For “Last Night in Soho,” he made the genius decision to work with Jeong Jeong-hun, who brought his own brand of cinematography that perfectly fitted the project. The lighting and atmosphere created by Jeong-hun to differentiate between “dreams” and reality are subtle but effective.
Wright used his usual team in most other areas for a good reason. Marcus Rowland has worked on six of Wright’s films as a production designer and delivers his best work in “Last Night in Soho.” The sets are organic and become more stunning as the movie progresses.
Paul Machliss’s editing is also essential to the movie, with his work in “Baby Driver” proving his talent. Along with Steven Price, who composed the music for both movies, this powerhouse team uses quick cuts in time with the music to create tension that is unique to these films.
The talent in front of the camera is also impressive. Although Thomasin McKenzie’s voice was unconvincing to me at the start of the movie, she eventually takes control of every scene, which fits perfectly with her character’s development.
Anya Taylor-Joy demands our undivided attention from the beginning and shows a range in the movie that is truly impressive, even with her singing.
In addition, the rest of the cast, including Diana Rigg, Matt Smith, and Terence Stamp, did a great job.
The only minor flaw I noticed was that in some scenes with Michael Ajao and Thomasin McKenzie, they seemed competing to see who could speak the lowest.
Overall, “Last Night in Soho” is a fantastic must-watch movie. The twist at the end is excellent and makes for a powerful, empowering ending.
Have you seen this movie? What did you think?
What genre should Edgar Wright tackle for his next film?