Edgar Wright makes movies for people who memorize IMDB trivia. Usually, that’s a blast. But when Last Night in Soho dropped, it felt like a sharp left turn that some people just couldn't stomach. It’s gorgeous. It’s loud. It’s also deeply, uncomfortably messy.
If you walked into the theater expecting Shaun of the Dead with neon lights, you were probably disappointed. This isn’t a comedy. It’s a "Giallo" inspired fever dream that tackles some pretty heavy themes regarding nostalgia and the way we fetishize the past. Honestly, the film is basically a warning shot against the "I was born in the wrong decade" crowd.
The Dual Reality of Eloise and Sandie
The story follows Eloise, played by Thomasin McKenzie, a fashion student who moves to London. She’s obsessed with the 60s. She wears the clothes, listens to the vinyl, and basically lives in a vintage bubble. But London is mean. It’s cold. Her roommate is a nightmare. So, Eloise moves into a dusty bedsit owned by Ms. Collins, played by the legendary Diana Rigg in her final film role.
This is where things get weird.
Every night, Eloise "travels" back to the 1960s. She steps into the shoes—literally—of Sandie, an aspiring singer played by Anya Taylor-Joy. At first, it’s a dream. The lights are brighter. The music is better. The dresses are incredible. But the glitter starts to rub off pretty fast.
Why the 1960s Setting Matters
Wright and co-writer Krysty Wilson-Cairns didn't pick the 60s just for the outfits. They picked it because it’s the era most people romanticize as "cool." You’ve got the Rolling Stones, the mini-skirt, and the Cafe Royal.
However, Last Night in Soho flips the script. It shows that the "Swinging Sixties" were actually a predatory hellscape for women trying to make it in show business. Matt Smith plays Jack, a guy who looks like a Prince Charming but turns out to be a pimp. It’s a bait-and-switch that mirrors the audience's own nostalgia. We want to see the fun stuff, but Wright forces us to see the grime.
Technical Mastery or Style Over Substance?
Visually, this movie is a flex. There’s a dance sequence early on where Eloise and Sandie swap places mid-spin while dancing with Jack. It was done practically. No CGI. Just incredible choreography and camera work by Chung-hoon Chung.
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- The lighting shifts from warm ambers to aggressive, pulsing reds and blues.
- The sound design uses 60s pop hits like "Downtown" but slows them down until they sound like a funeral march.
- The transition between the modern, drab London and the vibrant past is seamless.
Some critics argued that the style smothers the story. They aren't entirely wrong. By the third act, the film turns into a full-blown slasher with ghost men chasing Eloise through her hallways. For some, this felt like a betrayal of the psychological drama established in the first hour. It gets loud. It gets repetitive. But that’s the point—trauma is repetitive.
The Controversy of the Ending
Let’s talk about the twist. Spoilers ahead if you haven't seen it, but honestly, the movie has been out long enough that we need to get into the weeds here.
We find out that Sandie didn't die. She fought back. She killed the men who were abusing her and hid them in the walls of the house. The "ghosts" Eloise is seeing aren't vengeful spirits of a victim; they are the spirits of the predators begging for help.
This sparked a massive debate. Is the movie justifying Sandie’s actions? Or is it showing how violence corrupts everyone involved?
Many viewers felt the shift from "social commentary on misogyny" to "supernatural slasher" was clunky. Others loved that it turned the victim-narrative on its head. Whatever side you’re on, you can’t deny it’s a bold choice. It’s not a "safe" movie.
Expert Take: The Giallo Influence
To really get Last Night in Soho, you have to know what a Giallo film is. These are Italian thrillers from the 60s and 70s—think Dario Argento’s Suspiria. They are known for:
- Violent, stylized murders.
- Bizarre, dream-like logic.
- Hyper-saturated colors.
- Protagonists who might be losing their minds.
Wright is obsessed with this genre. He used the same lenses used in 70s filmmaking to give the movie that specific texture. If you look at it through the lens of a Giallo, the "messy" ending makes way more sense. It’s supposed to be operatic and over-the-top.
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What Most People Get Wrong About Eloise
A common complaint is that Eloise is a "weak" protagonist because she spends most of the movie screaming and running. That’s a bit of a shallow read.
Eloise represents the modern consumer of nostalgia. She wants the aesthetic without the history. Her journey is about realizing that her idols were people who suffered. Her "sensitivity" (which is hinted to be a mental health struggle inherited from her mother) is what allows her to see the truth, even if it breaks her. She isn't a hero in a traditional sense; she’s a witness.
Actionable Takeaways for Movie Lovers
If you're planning a rewatch or seeing it for the first time, keep these things in mind to get the most out of the experience.
Watch the mirrors.
Wright uses mirrors constantly to show the connection between Eloise and Sandie. Pay attention to who is in the reflection and when. It’s often a hint about who is "in control" of the narrative at that moment.
Listen to the lyrics.
The soundtrack isn't just background noise. The lyrics of the songs usually mirror exactly what is happening to Sandie’s agency. When "You're My World" plays, it’s not a love song—it’s a haunting realization of being trapped.
Don't ignore the modern scenes.
It’s easy to want to skip back to the 60s segments because they’re prettier. But the scenes with Michael (Eloise’s only friend) are crucial. They provide the grounding reality that shows not all men in London are Jack. It balances the film’s cynicism.
Check out the influences.
If you liked the vibe but hated the plot, watch Repulsion (1965) or Don’t Look Now (1973). These are the DNA of Soho. Understanding where Wright is pulling from makes the "weird" parts of the movie feel much more intentional.
Last Night in Soho isn't a perfect film, but it's an ambitious one. In an era of cookie-cutter franchise movies, a high-budget, original horror film about the dangers of the "good old days" is something worth talking about. It’s a cautionary tale wrapped in a sequined dress, and it reminds us that the past is often better left in the rearview mirror.
To dive deeper into the production, look for the "Making of" featurettes that detail the practical mirror effects. Seeing the actresses move in sync with body doubles in real-time is arguably more impressive than the movie itself. Take the time to appreciate the craft, even if the ghosts didn't quite land for you.