Last Night In Soho Review: 6 Ups & 4 Downs

Edgar Wright's worst film is still... not bad at all.

Last Night in Soho Anya Taylor-Joy Matt Smith

The second of two Edgar Wright-directed movies released this year - the other being his fantastic documentary The Sparks Brothers - is finally here, the hugely anticipated psychological horror film Last Night in Soho.

Touted as a considerable departure for Wright, who is better known for his outright comedy and action films, his latest project is unquestionably a loving homage to psychedelic horrors from decades past, particularly those of the Italian giallo variety.

It's worth stating from the outset that this isn't Wright's strongest effort as a filmmaker - far from it, in fact - but his ambition and desire to branch out is nevertheless admirable, and the film certainly works a lot more than it doesn't.

It also helps considerably that Last Night in Soho's cast and crew are an embarrassment of riches form top to bottom: this is a stylistically lush, terrifically acted piece of work even when it's let down by some less-inspired scripting decisions.

Hopefully its more tepid critical and audience response won't discourage the director from stretching himself further in the future, though. And so this review begins, first with what doesn't quite work...


Stay at home dad who spends as much time teaching his kids the merits of Martin Scorsese as possible (against the missus' wishes). General video game, TV and film nut. Occasional sports fan. Full time loon.