Edgar Wright Flexes His Signature Style for Bold and Chic Psycho-Thriller Last Night in Soho

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Chic and dynamic, Last Night in Soho's psycho-thriller is Edgar Wright at the height of his powers. aurora_amidon's review:

, he leans into the magnetic quality that reminds us that this is an Edgar Wright film. From the laugh-out-loud zombie hijinks inScott Pilgrim vs. the Worldcombines all the components that make his previous films click to create a uniquely engrossing viewing experience.follows Eloise , who moves to 2010s London from the English countryside to study fashion. While there, she begins having vivid nighttime visions that transport her back to her neighborhood in the 1960s.

Visually, this might be Wright’s most intriguing film yet. While all of his films have a distinct visual style—rapid editing, whip-pans, and dolly zooms—does something a little different, and pulls from the Italian giallo horror subgenre’s extreme, bright colors and theatrical sets, which gives the films a dreamlike quality. Wright pays homage to the king of giallo himself, Dario Argento, borrowing bold visual elements from his films like.

Given the connection Wright makes both with older films and with his audience, when things get scary for Eloise and her dreams start to turn into blood-soaked nightmares, the moments of horror are that much more effective. Wright makes sure that even when we’re watching people get hacked to death, or faceless men chase our protagonist, we’re having fun while doing it.

Indeed, Wright has a history of using, at least in part, his slapstick methods and showy colors and sets to satirize and highlight more serious matters.even does its own micro-dive into the dangers of a technology-obsessed society. To that end, the only area in whichfails, is, in the third act, when the script takes on too much of an expositional tone, instead of simply relying on its satirical edge to do the talking.

 

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