Last Night in Soho review | Peter Bradshaw's film of the week

Thomasin McKenzie, Anya Taylor-Joy and Matt Smith star in a horror-thriller that takes a trip to the sleazy heart of London’s past

A trip to the dark heart of London’s unswinging 60s is what’s on offer in this entertaining, if uneven, film from screenwriter Krysty Wilson-Cairns and director Edgar Wright, serving up a gorgeous soundtrack and some marvellous re-creations of sleazy Soho and the West End. There’s a tremendous image of the marquee for the 1965 Thunderball premiere in Coventry Street, and a show-stopping crane shot of Soho Square, apparently filmed from where the 20th Century Fox sign is now no longer to be found atop that company’s former premises.

Last Night in Soho is a doppelganger horror-thriller about a wide-eyed fashion student called Eloise (Thomasin McKenzie) who has brought her mum’s old Dansette record player and Cilla Black and Petula Clark LPs up to London from Cornwall on the train. Eloise has a fetish for the lost innocent glamour of the 60s but, moping all alone in her manky bedsit, finds herself stricken with nightly neon phantasms. Like a ghost from the future, Eloise dreams her way through a portal in time back into 60s London clubland, where she witnesses Sandie (Anya Taylor-Joy), a blonde singer – exactly the kind of retro showbiz princess Eloise moonily idolises – who is being forced by her slick-haired manager Jack (Matt Smith) into having sex for money with creepy old men. Gradually, Eloise feels her identity merging with Sandie’s. Is she having a breakdown, or is this nightmare really happening?

Wright’s re-creation of that bygone half of the film is hypnotic: interestingly, Eloise’s bedsit is not in Soho, but just to the north in Fitzrovia; maybe for the Peeping Tom vibes, this being where Michael Powell’s classic 1960 London shocker was set. Eloise has a grumpy old landlady played with gusto by the late Diana Rigg, and there are other instances of 60s ancestor-worship casting, including ruined 60s cherub Terence Stamp as a mysterious old guy who hangs about by the pub.

There are no cliched celeb cameos – no Francis Bacon in the Colony Room or Jimi Hendrix at the Bag O’Nails – and I like the way Wright does not romanticise or glamorise Soho: he shows us that this is a place of misogynistic nastiness. There is a grippingly squalid sequence in which Sandie is humiliatingly forced to participate as a chorus girl, performing Puppet on a String in a cringe-making saucy revue that is basically a prostitution shop-window for leering male punters in the audience, who are expecting Jack to set up a personal introduction. It’s a clever echo of the Christine Keeler revue scenes in Michael Caton-Jones’s Scandal from 1989.

Anya Taylor-Joy and Matt Smith in Last Night in Soho.
A place of misogynistic nastiness ... Anya Taylor-Joy and Matt Smith in Last Night in Soho. Photograph: Lifestyle pictures/Alamy

But the contemporary half of the film is for me less interesting, particularly in the overextended third act. It is almost as if the movie has used up all its horrified rapture on those vivid 1960s hallucinations, and it sometimes isn’t as scary as it could be. McKenzie does a lot of pop-eyed staring and sitting bolt upright in bed as she wakes up from another actually-happening bad dream, and there is a slightly laborious stretch where she is somehow able to research 60s Soho crime from microfiche newspaper records in her college library. In these book-lined stacks she suffers one of many ghost incursions. Taylor-Joy’s Sandie is opaque, but in the right way: the sacrificial fetish in a vortex of fear.

None of this stops the Soho of the film from being re-created with great exuberance, a Valhalla of toxic glitz, whose world Wright directs with great style.

• Last Night in Soho is released on 29 October in cinemas.

Contributor

Peter Bradshaw

The GuardianTramp

Related Content

Article image
Last Night in Soho review – a gaudy romp that’s stupidly enjoyable
Edgar Wright’s time-travel film plays like a 60s pop song building towards a big climax

Xan Brooks in Venice

04, Sep, 2021 @8:00 PM

Article image
Rita Tushingham: ‘Can you imagine walking around thinking: Ooh, I’m an icon?’
The star of A Taste of Honey reflects on her 60-year career, not standing for Oliver Reed’s ‘games’ and swinging London as depicted in her new film Last Night in Soho

Ryan Gilbey

22, Oct, 2021 @7:00 AM

Article image
Old review – M Night Shyamalan’s fast-ageing beach horror is top notch hokum
With a cast worthy of Agatha Christie, this tale of a resort where time has been terrifyingly accelerated is brilliantly poised between serious and silly

Peter Bradshaw

22, Jul, 2021 @4:00 PM

Article image
Last Night in Soho review – a deliciously twisted journey back to London’s swinging past
Slasher fantasy and ghostly magic collide in Edgar Wright’s heady thriller about a fashion student who is mysteriously transported into the life of a 60s nightclub singer

Mark Kermode, Observer film critic

31, Oct, 2021 @8:00 AM

Article image
Edgar Wright’s teenage obsessions: ‘Vic and Bob changed my life’
The Sparks Brothers and Shaun of the Dead director on working in Gateway, getting rejected by Viz and appearing on Going Live!

As told to Rich Pelley

05, Aug, 2021 @3:00 PM

Article image
Zola review – pulp-factual viral tweet becomes an icily slick urban thriller
Aziah ‘Zola’ Wells’s viral story of her crazily dangerous 2015 trip to Florida in search of pole-dancing money is brought to the screen with seductive comedy

Peter Bradshaw

04, Aug, 2021 @3:00 PM

Article image
The 50 best films of 2021 in the UK
Our countdown of the best films released in the UK during 2021 reaches No 1 with Jane Campion’s menacing western about two warring brothers

17, Dec, 2021 @6:52 AM

Article image
House of Gucci review – Lady Gaga murders in style in true-crime fashion house drama
Ridley Scott’s pantomimey soap entertainingly tracks fractures in the fashion world as Patrizia Reggiano plots to kill her ex, Maurizio Gucci

Peter Bradshaw

22, Nov, 2021 @11:00 PM

Article image
In the Earth review – Ben Wheatley’s trippy occult horror is a fine return to form
This low-budget folk-horror is back in Wheatley’s weird, sly world as Joel Fry and Ellora Torchia get lost in the forest

Peter Bradshaw

16, Jun, 2021 @3:00 PM

Article image
Split review – M Night Shyamalan twists again – and again
This suspenseful tale is surprisingly satisfying thanks to clever plotting and a fine performance from James McAvoy as a man with two dozen personalities

Steve Rose

19, Jan, 2017 @10:00 PM