Last Night in Soho Is a Stylish and Terrifying Tale of Nostalgia

Last Night in Soho is easily director Edgar Wright’s darkest and least absurd picture, a mixture of supernatural horror and psychological mystery that is brimming with darkness and surrealness. It’s also sure to be his most polarizing picture for not just its divergence but a surprising twist (which I will not spoil here) that turns much of its messaging on its head. If you’re willing to go along for its ride, it manages to be a surprisingly exciting dose of atmospheric horror.

Anya Taylor-Joy stars as Sandie and Thomasin McKenzie as Eloise in Last Night in Soho. Parisa Taghizadeh/© 2021 Focus Features, LLC

It’s easy to root for protagonist Eloise (Thomasin McKenzie). She’s a young adult who is ready to shed the village life and head off to college in London. She’s not only eager to pursue her career in fashion design but also willing to set aside her grief for her mother, who died when Eloise was young. Having been raised by her grandmother, she is mildly haunted by visions of her mother, but more as a watchful spirit than a dark presense. While she is excited about her college adventure, her grandmother warns her to be mindful of city life.

London looks glamorous at first, but it isn’t long before Eloise finds herself fearful of its occupants. Taxi drivers turn out to be creeps, and the other students in her dorm look down on her. Though she loves fashion enough to stick with school, her inability to connect socially with anyone leads her to retreat into her albums of the 1960s. But she needs more than retro distractions to focus.

To reduce the pressures of college, she seeks to rent out a room at a cozy apartment. Ms. Collins (Diana Rigg) is pretty strict about her upstairs room, but it’s no bother for someone as quiet and quaint as Eloise. The old room also has a history, and by night, Eloise’s dreams drift to the 1960s. She finds herself experiencing the past as she simultaneously inhabits and observes the life of Sandie (Anya Taylor-Joy). Dressed fantastically, she ventures into nightclubs where she dances the night away with the suave Jack (Matt Smith).

Sandie (Anya Taylor-Joy) lives it up with Jack (Matt Smith). Parisa Taghizadeh/© 2021 Focus Features, LLC

These visions are an absolute delight for Eloise—a grand indulgence of her nostalgia. She becomes inspired to design more retro clothing inspired by the era with her own unique style. The dreams continue, however, and Eloise starts to realize she’s experiencing another life. She also witnesses the downward spiral of Sandie and how her dreams transformed into nightmares of abuse. And then there’s a murder to be solved, and one that Eloise feels she may not be able to crack. Her sanity starts to slip as ghosts from the past continue to haunt her visions, making her social interactions all the more awkward.

Wright’s style is still just as bold as it’s ever been. He portrays Eloise’s dreams in a manner both whimsical and terrifying. It’s exciting watching her dip in and out of frame as she switches places throughout a shot with Sandie and Jack dancing. It’s chilling to watch her cry out at Sandie while trapped in her reflection, banging on the glass for the talented woman to break from her drunken stupor of despair. There are chilling sequences involving stabbings, a smoky blaze, and hallucinations of the 1960s. It’s also hard to get over just how of the era Anya Taylor-Joy appears, looking as though she were plucked right out a ’60s club. Watching her dance with a dapper Matt Smith is a real treat.

The most divisive aspect is sure to be the major twist of the picture, which dare not be revealed here. However, it’s a concerning aspect, as the messaging of the film becomes altered. While the overall theme of nostalgia being a danger never feels reduced, the smaller theme of being mindful of city folk becomes a bit muddled. This development isn’t on the same level as an M. Night Shyamalan twist, but it’s enough to alter the perceptions of a handful of viewers. Without giving too much away, let’s just say there’s quite a role for Terence Stamp to eat up.

Eloise unravels. Parisa Taghizadeh/© 2021 Focus Features, LLC

As a retro nightmare of a horror picture, Last Night in Soho mostly holds up as a stylish dose of terror. There’s great inspiration throughout as well as plenty of Edgar Wright’s unique style to give this throwback horror more of its own flavor. It’s proof that the director not only can compose love letters to nostalgia but has the grit to gut it for a more intriguing film.