Movie Review: ‘Last Night in Soho’ November 10, 2021By John Mulderig Catholic News Service Filed Under: Feature, Movie & Television Reviews NEW YORK (CNS) — It may have been author Peter De Vries rather than baseball great Yogi Berra who first observed that “nostalgia ain’t what it used to be.” Whoever originated the quotation, it applies in spades to the initially upbeat but eventually menacing psychological thriller “Last Night in Soho” (Focus). Although raised in rural Cornwall, aspiring dress designer Eloise (Thomasin McKenzie) is obsessed with the London of the swinging Sixties, based in part on memories shared with her by her deceased mom (Amieé Cassettari) and her affectionate grandmother, Peggy (Rita Tushingham). So Eloise is understandably thrilled by the news that she’s been accepted into a fashion school in the British capital. Moving to the neighborhood of the title, Eloise — who is shown early on to have psychic powers — becomes even more immersed in her favorite era as she journeys back to it in a series of dreams. During these visions, she witnesses scenes in the life of Sandie (Anya Taylor-Joy), a would-be actress and singer of the time. Sassy and self-confident, Sandie is everything socially awkward Eloise is not. And her career as a performer gets off to an apparently promising start as she gains the backing — and romantic interest — of suave talent manager Jack (Matt Smith). But Jack, it turns out, is not at all what he seems, and Sandie’s existence rapidly degenerates into the stuff of squalid nightmares. Haunted by what she is seeing, but powerless to intervene, Eloise becomes a neurotic mess. Her erratic daytime behavior draws the disdain of one classmate, obnoxious Jocasta (Synnove Karlsen), the sympathy of another, kindly John (Michael Ajao), who would like to make Eloise his girlfriend, and the ire of her elderly landlady, Ms. Collins (Diana Rigg). The script, penned by director Edgar Wright and Krysty Wilson-Cairns, shifts gears along with the narrative as its initially sunny tone first intensifies, then becomes feverish as it reaches a gory, mayhem-ridden conclusion. Thus, while the movie sustains viewer interest, the appropriate makeup of its audience quickly shrinks, ultimately embracing only those grown-ups with a high tolerance for rugged material. The film contains much harsh bloody violence, fleeting but strong sexual content, including glimpses of aberrant behavior and full nudity as well as a premarital bedroom scene, vengeance and prostitution themes, drug use, a few instances of profanity, at least one milder oath and considerable rough and crude language. The Catholic News Service classification is L — limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association rating is R — restricted. Under 17 requires accompanying parent or adult guardian. Also See Filmmaker explores shifts in U.S. religious landscape through lens of Ursuline sister Movie Review: ‘EPiC: Elvis Presley in Concert’ Home viewing roundup: What’s available to stream and what’s on horizon Movie Review: ‘Goat’ Home viewing roundup: What’s available to stream and what’s on horizon Russia’s war on Ukraine means ‘No Priests Left,’ documentary shows Copyright © 2021 Catholic News Service/U.S. Conference of Catholic Bishops Print
