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Monday, 01 November 2021 14:50

About ‘Last Night in Soho’

Few active filmmakers are possessed of a style and sensibility that is specifically theirs. These filmmakers stamp their idiosyncratic signatures on their works in an undeniable manner; theirs are the movies that we watch and know instantly who made them. The Andersons – both Wes and Paul Thomas – are in that category, for instance. So too are the Coen brothers.

And Edgar Wright is definitely in that conversation.

The English auteur’s latest film is “Last Night in Soho,” a time travel horror thriller of sorts that is packed with the sort of vivid imagery and pop deep cuts in which he delights. We move back and forth between the present day and a neon-soaked ‘60s London, the color and lights serving only to deepen the shadows of a story whose details are ever-shifting.

Wright has never been one to flee from his influences; he’s unafraid to embrace and celebrate the pop culture sights, sounds and ideas that he loves. That said, “Last Night in Soho” – while undeniably and instantly identified as an Edgar Wright movie – might be the least overtly engaged in conversation with those influences. They’re there, but we’re much farther from the homage/pastiche vibe of, say, his Cornetto Trilogy.

It’s stylish. It’s creepy. And it’s very good.

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