'Anya Taylor-Joy stars in this horror mystery that heavy on neon lights and eye-popping visuals, but low on satisfying climaxes and nuanced storytelling.' Read this review of Edgar Wright's 'Last Night in Soho' here:
is visually stunning as a result. From the dazzling costumes to the sublime production design of a seductive yet nightmarish London, everything is captured elegantly.
It’s unsure whether it wants to focus on supernatural elements, the realities of gender-based violence, or the trappings of a big city that devours its outsiders. In the process of finding answers to the script’s mysteries, Wright stumbles across the worst possible solution. He pulls out a reveal aiming to challenge the, but the only thing it seemed to challenge was my patience.
The ghosts chasing our lead in present-day London were apparently those same men, presumably still trapped due to Sandie not paying for her crimes. To add even more fuel to the fire, these men are actually “friendly” and only wanted Ellie’s help in bringing them justice by calling the police…? Glad to see ghosts who showed no remorse for Sandie or any concern about the institutions of justice while they were alive suddenly care about proper law enforcement in death. What a joke.
Usually, a subversion that paints a character as not-so black and white can elevate a story, but this one just breeds a message insensitive to women’s plights. The power imbalance between genders is not flipped, it is only reinforced. The police were never on Sandie’s side back in the ‘60s, and they sure as hell aren’t on her side now .
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