Last Night in Soho: Imperfectly Dazzling

Going to college can be stressful. And even though Eloise wants to learn to make dresses rather than good grades, she's no exception. But is she so stressed that dreams this vivid of a neon-lit 1950s London would distract her? But hey, at least the people in the dreams have good taste in fashion, and Eloise even meets a charming young man named Jack and an equally magnetic woman named Sandie there. Ever a dreamer, even Eloise knows that dreams equate to fantasy, but what if this one is real? And whatever is she to do as her dreams grow darker and darker, more and more sinister? Should she tell someone? Who would she tell? The police would think her crazy. Maybe John, that cute boy in her class, would know what to do. What if it's just a dream? But as the danger becomes more and more real, the implications more and more sinister, is that really a risk Eloise is willing to take?

Like every other film major out there, I love Edgar Wright's filmography. From his hilarious Cornetto Trilogy to the upbeat and groovy Baby Driver, his eye for style is undeniable. Last Night in Soho might be his most stylistic movie yet, an amazing treat for the eye that knows how to put on a show, even if it might not have all the tools it needs to craft a masterpiece. Thomasin McKenzie, who you may recognize from Taika Waititi's Jojo Rabbit, brings such a refreshing energy to the role of Eloise, otherwise known as Ellie. Her expressive performance reminded me more of a stage actor than a cinema portrayal at points, and for a movie as visually stylistic as this one, such a tactic works. Last Night in Soho is a classic fish-out-of-water story, and Ellie is an extremely likable, kind, and sympathetic character in a world run by some classic clique-ish types, a character with a bold personality that does her bold movie a lot of favors.

The use of color in Last Night in Soho is just astounding. Think, if not a one-to-one comparison, of Damien Chazelle's La La Land to get an image in your mind. The dream sequences set in the 1960s are astoundingly well-designed, a colorful sight evocative of a lavish Broadway. The wardrobe and hair departments of the film, run by Karen Cohen, Nisha Aulum, and Odile Dicks-Mireaux, absolutely deserve a shout-out and ample recognition for their remarkable work. These dream sequences are oftentimes as smart as they are beautiful, and one subtle detail that really impressed me was how all of Sandie's reflections in a mirror are of Eloise, a small touch of brilliance that made a big impression on me. Likewise, I mostly liked this movie's largely methodical nature. As if it were a modern-day Hitchcock, its psychological elements become more and more sinister with time. Last Night in Soho slowly turns from a dream to a nightmare, and it's a jarring shift in tone that is sure to delight. It's also undeniably groovy, and I imagine you'll catch yourself bopping your head in time to the music more than once even as the party gets dangerous.

This movie puts its best foot forward in a gorgeous shoe, but unfortunately, it stumbles on its bad one. Last Night in Soho has trouble maintaining its momentum throughout, and its once-groovy pace can become repetitive and samey if you give it enough time to. Its ending is a step above its second act and even a touch subversive, but the ways in which Last Night in Soho trip are still hard to miss. Nevertheless, it's a dazzling celebration of the night's neon, one that has the spirit of only the best performers, and so I think it's a shame that its routine couldn't make up its budget at the box office. I know talent when I see it, and though imperfect, Last Night in Soho is it.

Though it had trouble finishing the remarkable story it started and took an undeserved beating at the box office, I want to praise Last Night in Soho for its vivid imagination and lush flamboyance. What music! What color! What boldness and brilliance! This movie is both a love letter to and a critique of how we did things in the past, thrilling and chilling in equal measure. The entire cast gives outstanding performances, but my award for excellence has to go to Thomasin McKenzie, who puts on a show that goes from dazzling to dark faster than you can say that's a lovely name. But even in the darkness, an undeniable creativity shines all the brighter because of it, like a beautiful neon light reflecting on a rainy London street.

Last Night in Soho - 7/10

Job 33:14-18