8/10
Edgar Wright finds inspiration in 70s giallo.
20 November 2021
Long has it been since Edgar Wright delivered a truly satisfying output that establishes him as one of the most interesting directors in the business, whose releases are always awaited eagerly. With this new entry, his gripping visual style fits perfectly giving the puzzling nature of the story. A quite comfortable throwback to London in the 60s for the viewer proves to be horrifiying for Eloise "Ellie", played wonderfully by Thomasin McKenzie, whose only interest is to become a fashion designer. Soon, in a bizarre fashion, she begins to have real contact with the past, by staying in a room containing some skeletons in its closet. She mirrors the image of wannabe star Sandie (played by Anya Taylor-Joy, whose performance is not all that appealing to me, besides her wardrobe fitting so stylishly) and sees her shot at stardom being nothing more than a channel for an underground net of prostitution, and then, psychological horror ensues, as Ellie is now haunted by Sandie's memories of continuous abuse by ghosts of horror past.

The giallo influences are more than evident, which prompts an eerie sensation at least in my case, as I'm reminded of such excellent films like Suspiria or Deep Red, or even Polanski efforts including The Tenant or Repulsion, and Wright knows his film history, so he knows exactly how to deliver an homage in a proper manner, and without abandoning his own rich vision of filmmaking.

If you ask me, Last Night in Soho is one of the better films of 2021, and is also your chance to witness the late Diana Rigg, in her final performance, who I might add she absolutely shines. So come along and enjoy the ride.
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