Profondo Glosso: Wright Falters with Glossy, Pseudo-Feminist Ghost Story
Opening upon joyful musical reverie and descending into vibrant color palettes, Edgar Wright’s attempt at serious genre in Last Night in Soho banks on the avoidance of close inspection. A pastiche of dueling homage with its obsessive embrace of the Swingin’ Sixties and the Italian Giallo craze of the early 1970s, the script from Krysty Wilson-Cairns formulates a ridiculous narrative built upon vague parameters and cliches, hiding its surprises behind lazy tricks and repetitive attempts at establishing mystery.
A well-curated soundtrack list highlights how music (not to mention fashion) of the era remains influential, but, alas, the film itself is evidence how sampling or covering previously celebrated territory either results in mediocrity, or, worse, overwriting originality’s imprint in the zeitgeist.…...
Opening upon joyful musical reverie and descending into vibrant color palettes, Edgar Wright’s attempt at serious genre in Last Night in Soho banks on the avoidance of close inspection. A pastiche of dueling homage with its obsessive embrace of the Swingin’ Sixties and the Italian Giallo craze of the early 1970s, the script from Krysty Wilson-Cairns formulates a ridiculous narrative built upon vague parameters and cliches, hiding its surprises behind lazy tricks and repetitive attempts at establishing mystery.
A well-curated soundtrack list highlights how music (not to mention fashion) of the era remains influential, but, alas, the film itself is evidence how sampling or covering previously celebrated territory either results in mediocrity, or, worse, overwriting originality’s imprint in the zeitgeist.…...
- 10/26/2021
- by Nicholas Bell
- IONCINEMA.com
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