Edgar Wright's newest film, Last Night In Soho, is nothing short of a cinematic thriller masterpiece. It's closer to horror than anything else the director has done, though that's one of the film's strengths as opposed to a detriment. While Wright may be known for his films with solid comedy, like Hot Fuzz, Shaun of the Dead, The World's End, and Scott Pilgrim vs. the World, that doesn't make him a stranger to elements of danger, suspense, and straight-up horror.
Last Night in Soho is an incredibly artistic take on the horror genre in a similar spirit of Dario Argento; it's colorful, female-focused (Wright's first female-led film) but still scary and thrilling. The suspense throughout the film is well-earned, and no part of it feels cheap, especially not the horror elements.
Another homage Last Night in Soho absolutely nails is the 1960s nostalgia. Classic horror/thriller films like Peeping Tom serve for clear inspiration in the unsettling nature of the characters and situations they're put in. The soundtrack, of course, is a crucial part of cementing the 1960s spirit. A shameless plug, the vinyl two-disk edition is available online via Mondo Records. It features classics from Cilla Black, Dusty Springfield, The Kinks, and a couple of songs sung by star Anya Taylor-Joy herself.
There are no spoilers in this review; Last Night In Soho is one of those films where the less you are prepared for it, the better. Just know it's a beautiful whirlwind of horror cinema with a fantastic soundtrack and even better cinematography. There's lots of incredibly complicated camera work, choreography, set design, sound design, and technical work that went into every frame of this film. Every bit of this film serves to support and forward the story and maintain suspense and heightened emotion to make Last Night In Soho feel like two hours of neon-colored, 1960s suspense, mystery, and art.