Last Night in Soho: Edgar Wright's Exciting New Genre Bender
Written by Andreas Babiolakis
It’s finally here! The first promotional footage for Last Night in Soho has arrived. I have been stupidly excited for this particular Edgar Wright film for a while for reasons I will get into shortly. First, though, it’s obvious but worth noting that the pandemic pushed the release of this film an entire year, so we would have already known the end result of this picture by now. Nonetheless, it is on its way, with a slated October 21st release. Perhaps it will become a film festival darling and have its rounds earlier than that; I wouldn’t doubt this, quite frankly.
Let’s get into the real reasons why I am beyond ecstatic for this film. I am a fan of Edgar Wright’s, mainly because I love when genre bending films are done right. You needn’t look any further than his Three Flavours Cornetto trilogy, with the super strong lineup of Shaun of the Dead, Hot Fuzz, and The World’s End (which are spoofs and offshoots of zombie slashers, buddy cop flicks, and science fiction puzzles respectively). Wright is a master of whatever vision he wishes to bring to the big screen, maybe not explicitly in the way that you are guaranteed to like everything that he makes, but rather that his ability to create such unique-yet-identifiable ideas is undeniable. Hot Fuzz deviates from its initial tone rather drastically, but you don’t feel cheated at all. In fact, you expect this with The World’s End, and he still delivers a worthwhile series of twists and turns. Departing from this series, you have the retro, video game, manga fusion of Scott Pilgrim vs. the World (which is a rush through and through), and Baby Driver (a colourful thriller that executes a blistering marriage between sound and vision).
So, why Last Night in Soho? Well, in case it wasn’t obvious, these other films lean towards being fun entertainment. Last Night in Soho feels like it won’t be too different with this approach, but it is arguably the first Wright film to prioritize being something a little more serious. As a psychological thriller — and a throwback to ‘60s cinematic colour, fashion, and tropes — Last Night in Soho is a different angle from Wright that just feels like it has arrived at the right time. Anya Taylor-Joy is arguably even bigger now post-pandemic-hiatus because of The Queen’s Gambit. Thomasin McKenzie is a little too detached from the awards season lasting effect of Jojo Rabbit, but here she can reintroduce herself in a whole new way; her uprise has not slowed down. Both contemporary stars (who have their own experiences with genre works and horrors/thrillers: see The Witch, Lost Girls, and numerous other examples) seem like perfect fits for Wright’s eccentric creations.
Furthermore, Wright is a stickler for attentions to detail. You can refer to the many easter eggs in Baby Driver, and all of the Cornetto call backs (IMDb has a field day with his films when it comes to hidden trivia). Bring these references and hints to a psychological thriller, and you’ve got yourself a mystery that may royally mess with you. When it comes to psychological flicks, isn’t that an essential prerequisite? Besides, Wright has had enough experience making comedies and action films full of legitimate twists and turns. Let’s see how much he can play with our heads with a genre that usually relies on these elements. As much goofy fun as Wright can be, it will be nice to see what he can do with something a little more severe; of course, I expect there to be heaps of his signature antics, but I do feel like Last Night in Soho is as outside of his comfort zone as he’s ever been.
Even still, it will be fully Edgar Wright. I feel like he is a great director who is a little in no man’s land when it comes to the discussions of filmmakers. The masses love his films (I can’t find many people who don’t), even if these are movie goers that don’t memorize and study every single filmmaker credit of a picture; his works can attract those who don’t even care about who directed these works at all. On the other hand, they also are adored by hardcore cinephiles, and yet I don’t hear Wright’s name discussed amongst other highly identifiable auteurs (like Wes Anderson or Nicolas Winding Refn) in quite the same way. Hell, the guy barely makes awards season races (I’ll never forgive any ceremony that didn’t reward Baby Driver for its sound, but that’s just the tip of this iceberg). As well received as his works are, I still feel like he is underrated as a contemporary director (even if ever so slightly). Something like Last Night in Soho could be the risky film that rightfully places him amongst the most discussed auteurs of his time, specifically as a director (and not just for his works alone). Hell, even if the film doesn’t work out, his audacious filmmaking up until now already warrants this kind of reception, and I feel like the attempt alone will help.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.