From the fairy tale, the story of Last Night in Soho dark in horror movie. But since everything is not equally successful in this story, the viewer is as likely to come out with a mind overflowing with bloody images as by whistling a song by Petula Clark.
In our case, both are suitable. Without capsizing us, Edgar Wright’s film (Scott Pilgrim, The World’s End) leaves us with good memories.
The first part is bewitching, sumptuous, with a good spirit of lightness specific to youth. Following in Eloise’s footsteps, we walk between the 1960s and today with lots of music, dancing, colors, pub nights (we are in London’s Soho) and a few stops in the fashion class.
When she projects herself into the past, Eloise meets Sandie, a free spirit whose life smiles. This Sandie is a bit like Eloise’s alter ego, as some interesting mirror games remind us.
But gradually things are getting a lot darker. Eloise suddenly discovers a whole world of violence, sordid exploitation, disappearances and spurts of blood.
This shift from fairy tale to horror is perfectly paced and balanced. Nice work, well orchestrated. Enough to confuse, in a good sense, the viewer. What’s going on with Eloise? Fantasies? More imagination? Hallucinations? Schizophrenia? The truth will eventually come to light.
If the staging is successful and the interpretation is quite suitable, the bottom of the story, when we stop there, is quite classic. A prince charming, a haunted house (in town), a mysterious old lady, played by the late Diana Rigg, etc. All this is to be poured into the known tunes.
A last word also to say that if the promotion of the film highlights Anya Taylor-Joy, it is Thomasin McKenzie (Jojo rabbit, Old, The Power of the Dog) who defends the leading role. The two actresses complement each other well in their acting.
Indoors
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Horror / Thriller
Last Night in Soho
Edgar wright
With Thomasin Harcourt McKenzie, Anya Taylor-Joy and Matt Smith
1 h 56