Last Night in Soho certainly surprises its audience upon viewing. Whilst originally believed to be a thriller it brings in genres of horror, drama, and gore. The film follows the story of Eloise (Thomasin McKenzie) as she moves to London for her first year studying fashion at University Arts London. Eloise soon realises she is able to travel to 1960s Soho every night from her bedroom and discovers a world of glitz and glamour. However, the facade begins to fall and Eloise begins to struggle between her own reality and the one of the past. Edgar Wright co-writes and directs this memorable thriller to leave the audience gasping and holding their breaths in their seats.  

 

Last Night in Soho is definitely reminiscent of an Edgar Wright film. The unforgettable soundtrack is a reminder of Wright’s hit film Baby Driver (2017). The song ‘Downtown’ sung by Anya Taylor-Joy becomes a motif throughout the film. It starts out as captivating and soon becomes an eerie and uncomfortable reminder of the dark side of 1960s Soho. The witty writing, fast whip cuts and wipe editing is a reminder of one of Wright’s earlier films, Shaun of the Dead (2004). The fast paced editing is extremely engaging for the audience and the comedy provides relief for the spectator. The film also plays with colour, presenting high-key flashing lights of red and green. This lighting appears at the most tense moments of the film and submerges the audience into a state of suspense and anticipation. Wright’s key filmmaker traits is what makes the film unique from other films and reminds the audience of his style of filmmaking.

 

“The twists and turns makes the film exciting to watch”, Katherine Holman stated this after viewing and only plays as a reminder to the audience how good the storytelling is. Moreover, Last Night in Soho is undeniably an unexpected film from Edgar Wright’s repertoire. However, it is one of the best. The film grabs the audience's attention from the beginning and causes them to leave the cinema discussing it in length.