Last Night in Soho is a clear homage but the spooky story ultimately gets caught up in its own machinations and narrative off-ramps. Even though I'd consider Soho to be perhaps less visually audacious as Wright's past works, it's still a cut above even the better giallo genre homages. There is one visual shot that is so striking on multiple levels, watching the panic of eyes in the reflection of a knife and it plunges in and out of the frame, only increasingly bloodier.
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There are some knockout disturbing images to crank up the horror, like hands reaching out from all manner of spaces, and the grey faces of male phantoms blurring together. It made me start to mentally dissect the filming ingenuity, even though it was likely filming the scene in separate pieces, but part of me wondered if they just got the two actresses precise at timing one another's movements.
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When Eloise travels back in time, she's attached as the reflection of Sandie, and this creates very beguiling and imaginative images, like watching Eloise keep pace with Sandie down a mirrored staircase. There's a period of discovery that keeps your attention into the first half. The film has an acute sense of style that doesn't overshadow the unsettling mood of its horror. The technical recreation of the swinging ‘60s in London is impressive on every level. It's a different kind of story and movie, co-written by Krysty Wilson-Cairns (1917, Penny Dreadful), and while mysteries have factored into other Wright films, this one is built upon one. If you had told me that Last Night in Soho was directed by another filmmaker, I would have believed you. This is a more modulated and patient movie, one that doesn't ape the style of other flashy genre movies for post-modern, meta-textual in-joke commentary.
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This is the least Wright-ian movie when it comes to his signature sense of frenetic visual decadence and creative, intuitive editing. Eloise investigates what happened to Sandie and grows increasingly consumed with solving the crimes of the past and possibly getting lost in it as well. When she goes to sleep, under the alternating neon light filtering through her window, she wakes up back in the 1960s and takes the form of another woman, Sandie (Ana Taylor-Joy). She has difficulty fitting in with the snobby city girls at school and her new apartment might be haunted. We follow an aspiring fashion student, Eloise (Thomasin McKenzie), as she leaves her small town for the bright lights of London.
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Edgar Wright's Last Night in Soho is the writer/director's first work of genuine horror and it's in many ways unlike his previous movies, both in good ways and not as good.