Last Night In Soho Review: 6 Ups & 4 Downs

Downs...

4. Its Clumsy Treatment Of Timely Themes

The script is absolutely the worst part about Last Night in Soho, for while it begins promisingly and has a clear intent to warn audiences about the dangers of rose-tinted nostalgia, Wright's attempts to broach more sensitive themes are a little inelegant, to say the least.

Despite bringing Oscar-nominated writer Krysty Wilson-Cairns (1917) onboard to flesh out the female characters and their predicament, overall the film's depiction of abuse against women feels heavy-handed and superficial.

Wright is a talented writer, no question, though he's never really been one to tackle themes of social currency, and his work here doesn't really convince that he's the guy to make a #MeToo horror film, if you like.

Disappointingly the unpleasant situations women are placed in throughout the film are generally overly broad and cartoonish, forcing these scenes to coast on the quality of the performances and technical presentation.

The script isn't worthy of eyerolls, but it does suggest Wright is better off sticking to his comedic genre pastiches rather than trying to say something about the world both past and present.