Last Night in Soho (2021)

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.