Directed by Edgar Wright—the mastermind behind Baby Driver—Last Night in Soho (tentatively translated as “The Last Night in Soho”) piqued my curiosity right from its first trailer. A tale woven with neon lights, it bridges two souls across the 21st century and the 1960s, teasing eerie twists along the way. From that very moment, I added Last Night in Soho to my must-watch list for the year, alongside films like The French Dispatch, The Green Knight, The Lamb, Titane, The Hunt, and The Matrix Resurrections.
The movie kicks off with Eloise, a small-town girl from rural England, who heads to London to study fashion design. A bit “country,” slightly “odd,” and passionate about vintage music, she struggles to fit in with her dorm mates, who mock her relentlessly. This pushes her to seek refuge in an old boarding house in the heart of London. On her very first night there, Eloise slips into a vision—or perhaps something more—where she steps into the life of Sandie, a stunning young woman from the 1960s. Sandie, burning with ambition to make it big in London, strides into the famed Café de London, where she meets Jack. Their romance blossoms into the kind of dreamy love Eloise has always longed for, while Jack promises to catapult Sandie to stardom.
Eloise finds herself swept away by this past world. It’s not just a dream—she knows it when she wakes up with Jack’s hickey still etched on her neck from her time as Sandie. Night after night, she eagerly awaits the chance to slip back in time, embodying her idol Sandie, reveling in their passionate romance, and drawing inspiration to face her own reality with newfound confidence.
But is Jack and Sandie’s love story as enchanting as Frank Sinatra and Ava Gardner’s? Far from it. A devastating turn shatters their bond, and Eloise discovers Sandie’s life spiraling into a living hell. From there, Sandie’s ghost begins to haunt Eloise even in the waking world. The film picks up pace, weaving a tapestry of chilling, fantastical, and haunting moments.
What struck me most about this film is its sheer beauty. From the cinematography to the set design and costumes, every detail dazzles. The editing and visual effects (VFX) are equally breathtaking. Scenes with mirrors flipping perspectives between Eloise and Sandie are jaw-dropping, while the film’s neon-red-and-blue lighting casts a mysterious, lingering spell. The editors have a keen sense of rhythm and purpose, delivering seamless transitions that blur the line between reality and illusion—yet it never feels as convoluted as a Christopher Nolan flick.
The VFX deserve a shoutout too. The “ghosts” never look cheap or fake; they’re genuinely striking and unsettling. The team masterfully blends imagination with reality in some sequences, while others lean hard into fantasy, elevating Last Night in Soho into something truly magical and artistic.
Normally, I don’t expect much from the script of a teen-leaning horror flick like this. But Last Night in Soho surprised me with a story that’s gripping, chilling, and deeply engaging. At first, I rooted for the lonely Eloise (maybe because I’ve felt that same out-of-place awkwardness myself), and soon I was trailing her every step into Sandie’s past. Sandie’s tragic arc carries just enough weight to give the film meaning and leave an impression, even if it didn’t feel entirely fresh to me. You’ll find echoes of this in films like Bombshell, Promising Young Woman, or Girl From Nowhere, but the storytelling and emotional pull here carve out their own unique space.
Director Edgar Wright knows how to keep things fresh, twisting the script so it never drags. The villains who ruin Sandie’s life morph into ghosts haunting Eloise in the present, tying the two eras and worlds together through her subconscious. We’re pulled into Eloise’s nightmare, a sensation akin to sleep paralysis—terrified, helpless, unsure what’s real or imagined. That’s the film’s standout charm. The climax unravels with plot twists that hit just right—not too obvious, yet not impossible to spot for sharp-eyed movie buffs. Even if you catch hints early, predicting the full twist before it lands is a tall order. All in all, the script is tight, captivating, haunting, surprising, and meaningful.
The cast shines too, with the gorgeous Anya Taylor-Joy (The Queen’s Gambit) as Sandie and Matt Smith (Doctor Who) as Jack. Every actor, from leads to supporting roles, delivers a performance that makes this film sing.
Last Night in Soho straddles the line between entertainment and art, much like its story dances between the 21st century and the 1960s. I’d love to see it snag some award nominations, though I suspect its artistry and depth might not quite reach that elite tier. Still, I’m rooting for it to shine in technical categories—it outdoes Baby Driver by a mile in my book.
In the end, Last Night in Soho is a gem that blends entertainment with artistry. It’s gripping, spooky, and even a little heartbreaking if you let it sink in. Its meaning sits in a sweet spot—stronger than your average popcorn flick but not quite profound enough to rival the heavy hitters. Either way, it’s a winner in my eyes and a film anyone can enjoy.
Rating: 8.0/10
