---
title: "Last Night in Soho"
year: 2021
kind: "film"
canonical: "https://film.one/film/last-night-in-soho"
fi1m_score: 64
critics_score: 69
critics_reviews: 26
published: "2026-09-21T03:43:18.202192+00:00"
updated: "2026-09-21T03:43:18.693344+00:00"
region: "SK"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Last Night in Soho (2021)

Directed by Edgar Wright · 1h 57m · Horror, Mystery, Thriller

**Fi1m score: 64** · Critics 69 from 26 reviews

*In a sentence:* The nightclub is so persuasive we kept forgiving the murder mystery for interrupting

> Edgar Wright’s Soho thriller is carried by its two leads and the pull of its sixties nightclubs. The music beguiles, but a cluttered murder mystery and repetitive scares make the second half a disappointment.

## Synopsis

In present-day London, fashion student Eloise Turner (Thomasin McKenzie) finds herself psychically linked to Sandie (Anya Taylor-Joy), a singer in 1960s Soho. Eloise is trying to make her way in fashion, but her experiences of Sandie’s life draw her attention into another era. At the Café de Paris, Sandie meets Jack (Matt Smith), and the nightclub’s songs and dancing make the past seem inviting. As the two women’s experiences overlap, the attraction begins to give way to unease. Eloise has to reckon with a London she cannot keep safely in the past.

## Review

Edgar Wright’s *Last Night in Soho* is an absorbing visit to a nightclub and a less convincing evening of horror. Its premise gives nostalgia a practical danger: a fashion student can experience the life of a singer in 1960s London, without knowing what she is getting into. We understand the attraction, particularly once the music starts. The trouble is that the murder mystery gradually demands more attention than either woman, and its complications do little to make the film frightening.

Thomasin McKenzie gives Eloise Turner a vulnerability that makes this excursion into someone else’s life feel risky from the start. Her performance holds our attention even when the present-day scenes feel like interruptions, a weakness the film never quite solves. Anya Taylor-Joy makes Sandie’s ambition immediately legible in the nightclub: she looks as though she expects to belong there. We were delighted by her performance of “Downtown”, which lets us enjoy her singing long enough to understand why Eloise would be captivated.

Chung Chung-hoon’s cinematography makes the period nightlife inviting enough for the film’s warning about nostalgia to have some force. Production designer Marcus Rowland supplies a nightclub setting where the clothes, dancing and music belong together, rather than competing for our attention. At the Café de Paris, there is enough life around Sandie and Jack to make their meeting feel like part of an evening out. Matt Smith and Anya Taylor-Joy make appealing company, and their scenes benefit from the attraction between them.

Paul Machliss edits the musical passages with an assurance that makes the early shifts between eras easy to follow. As the shocks accumulate, however, their recurrence becomes predictable, and the pace starts to work against the suspense. Steven Price’s score contributes to the pressure, sometimes too insistently for scenes that already signal trouble. The nightclub songs are more persuasive accompaniment, giving us something to enjoy while the film gradually introduces reasons to feel uncomfortable about enjoying it.

The screenplay by Edgar Wright and Krysty Wilson-Cairns takes seriously the difference between admiring a period and living in it. Its concern with the exploitation of young women has weight, especially while Sandie remains someone with ambitions we can understand. But the increasingly tangled mystery gives those concerns too little space, and the explanations become a distraction. The women’s experiences are frequently squeezed out by preparations for the next shock, just when spending longer with either of them would help.

That is a particular problem for psychological horror, which depends on our staying close to someone whose perceptions we cannot entirely trust. Diana Rigg, as Ms. Collins, brings a welcome firmness to a film increasingly prone to overstatement. Thomasin McKenzie also keeps finding credible distress amid the complications, and the casting deserves much of the credit for holding our attention. The performances remain worth watching even when the mystery becomes difficult to care about.

There is enough here for viewers drawn to period nightclubs, music and an atmosphere of bad decisions. We would recommend it chiefly for its performers and its recreation of Soho, with a warning that the scares become repetitive. A taste for sixties pop will help more than a demand for a tidy mystery.

*Fi1m score 64, published 21 September 2026.*

## What the critics say

Most critics respond warmly to Edgar Wright’s Last Night in Soho, with praise clustering around its imagery, music and recreation of 1960s London. Thomasin McKenzie and Anya Taylor-Joy’s performances draw approval even from several sceptics, while the early journeys into Soho’s past supply much of the excitement. The favourable reviews find an entertaining blend of glamour and menace, with some also crediting its examination of nostalgia and the exploitation of women.

The spread is wide, however, and reservations repeatedly concern the plotting and scares in the second half. Even sympathetic critics find the explanations strained or the horror numbing; harsher reviews argue that the film’s visual invention cannot compensate for its confused storytelling. Collider praises its thoughtful treatment of the past, while The New Yorker finds its critique lost among twists and shock effects. The central disagreement is how much substance survives beneath the stylish presentation.

## Straight answers

**Is Last Night in Soho worth watching?**

*Last Night in Soho* is worth watching chiefly for its leads, sixties music and nightclub atmosphere; we score it 64 out of 100. We recommend it to viewers drawn to those pleasures, with a warning that the cluttered murder mystery and repetitive scares make the second half disappointing.

**How long is Last Night in Soho, and what is it rated?**

*Last Night in Soho* runs 1h 57m. It is a horror and mystery film.

**Where can I watch Last Night in Soho in Slovakia?**

*Last Night in Soho* is not on any streaming or rental service in Slovakia at the moment. It is available in 44 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Last Night in Soho, and is it suitable for children?**

*Last Night in Soho* carries a UK 18 certificate and is not suitable for children or younger teenagers. Its psychological horror involves distress, repeated shocks and the exploitation of young women; we find the scares increasingly predictable rather than consistently frightening, but that does not make it a gentle choice for sensitive viewers.

**How does Last Night in Soho compare to Perfect Blue?**

*Last Night in Soho* is the choice for sixties nightclub atmosphere, but we recommend *Perfect Blue* as the tighter, more disturbing psychological thriller. Both deal with performance and unstable perceptions; *Perfect Blue* makes the scrutiny of a pop star frighteningly intimate, while *Last Night in Soho* lets its tangled mystery crowd out its two women.

### Reviews we read (26)

- **IndieWire**, Nicholas Barber (90/100, inferred): The critic calls the film a delirious mod delight that feels entirely new while retaining Wright's signature style, deeming it a superb film overall. The one thing singled out is its fresh take on horror and time-travel elements. [Read](https://www.indiewire.com/criticism/movies/last-night-in-soho-review-edgar-wright-1234662240/)
- **Screen Daily** (90/100, inferred): The review finds the film a riotously entertaining thriller that vividly evokes Soho's past and present with a giallo twist, praising the dual lead performances and the energetic, lurid thrills, especially the supporting turn by Diana Rigg. [Read](https://www.screendaily.com/reviews/last-night-in-soho-venice-review/5163000.article)
- **The New York Times**, Manohla Dargis (Critic’s Pick): The critic praises Edgar Wright’s sumptuous and surprising horror movie for its dazzling imagery and psychic bond between two young women from different eras. They single out the authentic shiver lent by the female lead and the performances of legendary British actors like Diana Rigg and Terence Stamp. [Read](https://www.nytimes.com/2021/10/28/movies/last-night-in-soho-review.html)
- **Empire**, Beth Webb (80/100, inferred): Wright's ambitious shift into female-centric horror is strongest when focused on visceral scares and the leads' performances, enhanced by striking cinematography. Some narrative patches exist, but it marks an exciting new direction for the director. [Read](https://www.empireonline.com/movies/reviews/last-night-in-soho/)
- **Radio Times**, Emma Simmonds (4/5): The critic commends the visually arresting psychological thriller for its unsettling blend of past and present, strong performances by McKenzie and Taylor-Joy, and inventive take on horror tropes, while critiquing the somewhat predictable mystery elements. [Read](https://www.radiotimes.com/movie-guide/b-xy2tno/last-night-in-soho/)
- **The Guardian**, Mark Kermode (80/100, inferred): The critic praises the film's heady blend of slasher fantasy and ghostly magic as a deliciously twisted love letter to cinematic pop-culture past. They single out the exhilarating early flashbacks and Wright's personal enthusiasm for the material. [Read](https://www.theguardian.com/film/2021/oct/31/last-night-in-soho-edgar-wright-review)
- **The Telegraph** (4/5): The review calls it a riotous hybrid of love letter and break-up note to Swinging London, highlighting the fluid direction and strong performances, especially from Anya Taylor-Joy. [Read](https://www.telegraph.co.uk/films/0/last-night-soho-review-chilling-dance-swinging-london-diana/)
- **Time Out**, Phil de Semlyen (4/5): The review lauds the stylish psychological thriller and Anya Taylor-Joy's standout performance, appreciating the smart handling of trauma across time and the immersive evocation of period and place, though noting some zigzagging in the plot resolution. [Read](https://www.timeout.com/movies/last-night-in-soho-2021)
- **Evening Standard**, Charlotte O'Sullivan (75/100, inferred): Wright's glossy psychological thriller offers a valuable, non-romanticised portrait of London's seedy underbelly and the exploitation faced by women. Strong performances, especially from Taylor-Joy and McKenzie, and memorable imagery make it worthwhile. [Read](https://www.standard.co.uk/culture/film/last-night-in-soho-review-edgar-wright-anya-taylor-joy-b962850.html)
- **Vulture**, Bilge Ebiri (75/100, inferred): The critic finds the film mostly intoxicating thanks to its stylish pop-culture obsessions and visual flair but notes some numbing effects in the horror sequences and a bludgeoning third act. The one thing singled out is Wright's playful poptimist approach to the material. [Read](https://www.vulture.com/article/movie-review-last-night-in-soho-starring-anya-taylor-joy.html)
- **Sight and Sound** (70/100, inferred): The critic praises the film's exhilarating mix of genres and nostalgic recreation of 1960s London while noting its exploration of the dangers of nostalgia and how the past's darker elements persist. It highlights the energetic musical sequences and strong performances that hold the wild narrative together. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/last-night-soho-review)
- **The Hollywood Reporter**, David Rooney (70/100, inferred): The critic praises Wright's entertaining direction and the film's genre-blending pleasures, highlighting the compelling performances of McKenzie and Taylor-Joy as flip-side personalities. The one thing singled out is the brutalizing effect of sexual commodification on the young woman character. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/thomasin-mckenzie-and-anya-taylor-joy-in-edgar-wrights-last-night-in-soho-1235008660/)
- **The Independent**, Jake Coyle (2.5/4): The promising premise of a fashion student psychically linked to a 1960s Soho singer is squandered by a muddled second-half murder mystery that stretches the supernatural elements too far. Strong lead performances from McKenzie and Taylor-Joy sustain the film despite its flaws. [Read](https://www.independent.co.uk/news/soho-edgar-wright-london-diana-rigg-terence-stamp-b1947089.html)
- **The i Paper**, Francesca Steele (60/100, inferred): The film delivers entertaining, stylish flashbacks with excellent chemistry between Taylor-Joy and Smith, but fails to deliver as psychological horror with weaker present-day scenes and abrupt tonal shifts. It is fun but ultimately disappointing in its emotional depth. [Read](https://inews.co.uk/culture/film/last-night-in-soho-review-psychological-horror-edgar-wright-1273104)
- **Financial Times**, Danny Leigh (★★★☆☆): The review notes the infectious fun of the first half's dancefloor set pieces and time-jumping premise but criticizes the radical collapse in the second half into a terrible pickle. They single out the shift from charm to curdled visions. [Read](https://www.ft.com/content/c84a84f4-3e69-444f-aa9f-bd38294f052e)
- **The New Yorker**, Richard Brody (30/100, inferred): The critic finds that Wright’s critique of swinging-sixties London gets lost in a tangle of plot twists and shock effects, with the film sacrificing substance to style. They single out the fleetingly ingenious images and effects but criticize the garbled message and commercial cynicism. [Read](https://www.newyorker.com/culture/the-front-row/last-night-in-soho-reviewed-a-flashy-but-facile-anti-nostalgia-trip)
- **The Times**, Kevin Maher (★★☆☆☆): The critic finds the film a garish disappointment and indecently empty entertainment despite loving recreations of 1960s London and strong music scenes. They single out the convenient plotting and alienating central performance as major flaws. [Read](https://www.thetimes.com/culture/film/article/last-night-in-soho-review-its-tiktok-polanski-at-best-6c0w5xgs3)
- **Variety**, Guy Lodge (30/100, inferred): The critic calls the film a surprising misfire, with boyish genre nostalgia and an underwritten, unscary time-hopping horror story. They single out the promising premise and strong performances by McKenzie and Taylor-Joy but fault the repetitive plotting and lack of scares. [Read](https://variety.com/2021/film/reviews/last-night-in-soho-review-1235056373/)
- **Collider**, Matt Goldberg (A): The critic praises Wright's mature handling of nostalgia and the past's horrors, highlighting the performances of McKenzie and Taylor-Joy as empathetic and tragic anchors. The film is seen as a powerful commentary on accepting the complexities of history. [Read](https://collider.com/last-night-in-soho-review-anya-taylor-joy-edgar-wright/)
- **Deadline**, Pete Hammond (85/100, inferred): Pete Hammond praises Edgar Wright's stylish thriller for its trippy atmosphere, killer soundtrack, and blend of glamour and menace in 1960s London, calling it a neat trick and cool treat that works successfully. [Read](https://deadline.com/2021/09/last-night-in-soho-venice-edgar-wright-1234826140/)
- **The Wrap** (80/100, inferred): The critic calls it one of the best London movies, praising great performances, brilliant needle-drops, and its stylish, scary homage to Soho's seedy past as Wright's best since Shaun of the Dead. [Read](https://www.thewrap.com/last-night-in-soho-film-review-edgar-wright-anya-taylor-joy-thomasin-mckenzie/)
- **/Film**, Marshall Shaffer (7.5/10): Wright takes a calculated risk with his first female-led story and moves away from his established brand into new territory. The film lacks some of the polish of his earlier work but remains exciting as the director stretches his ambitions. [Read](https://www.slashfilm.com/596010/last-night-in-soho-review-edgar-wright-evolves-if-not-improves-his-familiar-form-venice-2021/)
- **Consequence** (B-): The review notes the film's stunning visuals and soundtrack as a tribute to 60s London but criticizes it for lacking coherence as a horror film, with an unsatisfying plot that doesn't live up to its ambitions. [Read](https://consequence.net/2021/09/last-night-in-soho-film-review/)
- **Den of Geek**, Audrey Fox (4 out of 5): The critic praises the film's hypnotic blend of charm and chills, its 1960s aesthetic, and the magnetic performances of Thomasin McKenzie and Anya Taylor-Joy, but notes it wobbles in the third act when trying to explain everything. It singles out the visual style and the interplay between the two leads for praise. [Read](https://www.denofgeek.com/movies/last-night-in-soho-review-edgar-wright-horror/)
- **NME**, Ryan Leston (4): The review describes it as a fresh and unpredictable thrill ride that mashes genres effectively, praising the performances and Wright's new direction, though it notes the film is hard to pin down. It singles out the pop culture references, needle drops, and witty asides, along with the lead actresses' portrayals. [Read](https://www.nme.com/reviews/film-reviews/last-night-in-soho-review-edgar-wright-3038250)
- **Polygon**, Jack King (60/100, inferred): The critic appreciates the stylish throwbacks and Wright's obsessions but notes it works against itself, struggling with weightier themes of violence and nostalgia, resulting in a mixed experience despite visual flair. [Read](https://www.polygon.com/reviews/22752939/last-night-in-soho-review-edgar-wright/)

## Details

- **Director:** Edgar Wright
- **Director:** Edgar Wright
- **Screenplay:** Krysty Wilson-Cairns, Edgar Wright
- **Story:** Edgar Wright
- **Cinematography:** Chung Chung-hoon
- **Editor:** Paul Machliss
- **Music:** Steven Price
- **Production design:** Marcus Rowland
- **Costume design:** Odile Dicks-Mireaux
- **Producer:** Eric Fellner, Edgar Wright, Tim Bevan
- **Cast:** Thomasin McKenzie as Eloise Turner; Anya Taylor-Joy as Sandie; Matt Smith as Jack; Rita Tushingham as Peggy Turner; Michael Ajao as John; Synnøve Karlsen as Jocasta; Pauline McLynn as Carol; Terence Stamp as Silver-Haired Gentleman
- **Runtime:** 1h 57m
- **Release (Slovakia):** 22 October 2021
- **Genres:** Horror, Mystery, Thriller
- **Budget:** $43 million
- **Box office:** $23 million
- **Trailer:** https://www.youtube.com/watch?v=XgNrL4Kf7yU

## Where to watch in Slovakia

Not streaming, renting or buying in Slovakia at the last check.

Also available in: AE, AR, AT, AU, BE, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HK, HU, ID, IE, IL, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, SE, SG, TH, UA, US, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *Peeping Tom* (1960): Another London nightmare about watching women, with far less reassurance for the watcher.
- *Carnival of Souls* (1962): A woman’s isolation makes ordinary streets and public entertainments feel quietly threatening.
- *Perfect Blue* (1997), Fi1m 82: Performance, fractured identity and voyeurism become a tighter, more disturbing psychological puzzle. — [Fi1m page](https://film.one/film/perfect-blue.md)
- *The Double Life of Véronique* (1991), Fi1m 86: Two women’s unexplained connection receives the patience and tenderness it deserves. — [Fi1m page](https://film.one/film/the-double-life-of-veronique.md)
- *Suspiria* (1977): For colour, music and young women entering places they ought to leave.

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© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/last-night-in-soho