The latest Edgar Wright (“Shaun of the Dead”) film, “Last Night in Soho” is a psychological thriller featuring Anya Taylor-Joy (“The Queen’s Gambit,”) Thomasin McKenzie (“Jojo Rabbit,) and Matt Smith (“The Crown”). The film sees Wright attempt another serious and thought provoking title, departing from the comedic “Cornetto Trilogy” and continuing where “Baby Driver” left off. 

“Last Night in Soho” focuses on an aspiring fashion designer, Ellie Turner (McKenzie), who moves from rural Cornwall to North London to attend the London College of Fashion. When Ellie does not get along with her roommate, the snobbish partier Jocasta, (Synnøve Karlsen, “Medici”) she moves to an apartment owned by an elderly woman, Ms. Collins (Diana Rigg, “Game of Thrones”). When Ellie falls asleep, she experiences vivid dreams of the life of a young woman in the late 1960s, Sandie (Taylor-Joy.) The film follows the concept of Ellie experiencing this seemingly exciting life that quickly turns sour. 

The cinematography of “Last Night in Soho” is the main strength of the film. Ellie’s dreams utilize mirrors heavily, with Sandie participating in the scene while Ellie is reflected. These scenes perfectly symbolize and exaggerate the differences between the life Ellie leads and the one she, at least initially, wished she could have. The film also features blinking red, white and blue lights that shift to exclusively red during particular tense situations in the film, another effective cinematic decision. 

The film uses ‘60s music, featuring artists like The Kinks (“Lola”), The Who (“Baba O’Riley”) and Barry Ryan (“Eloise”). Ellie grows up on the music of the ‘60s, and her passion for it is echoed in the dream sequences featuring Sandie. “Last Night in Soho” will likely serve as an introduction to an entire era of music for younger generations, something the film can certainly pride itself on. 

Where Wright falls short is with regards to the execution of the premise. The latter half of the film attempts to transition from psychological thriller to supernatural horror à la Stephen King, but seems slightly clumsy. The horror aspect of the film is sudden and slightly rushed, while other plot points seem to be built up only to lead nowhere, namely the conflict between Ellie and Jocasta. It feels as though Wright was caught between genres, and instead of choosing one, it settles for neither. 

There are several characters who feel extraneous throughout the film, another issue that leads to several scenes and interactions feeling pointless. What is seemingly a large plot point early in the movie, the fact that Ellie can see her dead mother in mirrors, is essentially a non-factor throughout the entire film, despite the persistent use of reflective surfaces. While Sandie effectively takes the place of Ellie’s mother in the mirrors during the bulk of the film, the transition is poorly defined and never truly explained. 

While Edgar Wright’s concept and plot are incredibly intriguing, the method in which they are executed in “Last Night in Soho” leaves room for some improvement. The movie never seems to settle on a genre for long enough to be truly effective in it, and at times attempts to do too much. Several plotlines are either left open or closed so abruptly as to cause confusion as to their true meaning. The cinematography and acting keep the film afloat, as well as the sense of suspense and knack for the dramatic. In all, “Last Night in Soho” is a film with an excellent idea that does not quite meet the expectations the greatness of the premise establishes for itself. 

Image from Focus Features via YouTube