By Alex McPherson

A lusciously stylish descent into nostalgic madness, director Edgar Wright’s new film, “Last Night in Soho,” can’t match its technical brilliance with satisfying storytelling.

The film follows Eloise (Thomasin McKenzie), a naive soul obsessed with the 1960’s who leaves her rural village to study at the London School of Fashion. She’s haunted by ghostly apparitions, including her mother, a fashion designer who died when Eloise was seven.

Out of a desire to make it big and follow in her mother’s footsteps, Eloise arrives in the big city, unprepared for what she’ll find — social alienation. Her roommate, mean girl Jocasta (Synnove Karlsen), and others judge her for her supposedly antiquated interests, while pervy men casually harass her. To get away, Eloise rents a West London apartment maintained by a wryly funny landlady (the late Diana Rigg, giving a glorious performance in her final role). The room Eloise rents — bathed in flashing red and blue neon light — seems pleasant enough, if a bit creepy. 

One night in her slumber, Eloise is transported back to the 60’s to live in the shoes of Sandie (Anya Taylor Joy), an up-and-coming singer who wants to become the next Cilla Black. An embodiment of the sort of confident, ambitious woman that Eloise hopes to become one day — and a chanteuse able to sing a killer rendition of “Downtown” — Eloise quickly becomes infatuated with her. However, darker truths are revealed when Sandie gets involved with an alluring, slimy bugger named Jack (Matt Smith) who promises to make her a star. Sandie’s traumatic experiences start bleeding into Eloise’s present as increasingly morbid visions impact her waking life.

This storyline represents an interesting deviation from Wright’s male-driven comedy background. Unfortunately, “Last Night in Soho” feels jumbled, with a spellbinding first half that devolves into clichés by the conclusion. Still, the film is invigorating thanks to its deft craftsmanship and wholehearted performances from the entire cast, McKenzie and Taylor-Joy especially.

Indeed, Eloise is a sympathetic protagonist, a youthful fish-out-of-water struggling to fit in. McKenzie’s acting lends her an innocent vulnerability, making her rapid infatuation with Sandie somewhat believable, and her later descent into paranoia all the more disturbing. The last third requires McKenzie to be in constant panic mode, yet she keeps emotions grounded when the script proceeds in absurd directions.  

Eloise’s initial time-traveling visions are utterly fantastic — throwing her (and viewers) into a decadent world of glitz and glamour that blocks out the darkness lurking beneath the flashiness, featuring the pervasive pop culture references that Wright specializes in. With shimmy-worthy tunes blaring in the background, these sequences are a pure joy, most notably a hypnotic dance sequence involving Taylor-Joy and McKenzie being swapped back-and-forth mid twirl.

“Last Night in Soho” shines in these instances, where Eloise and Sandie are experiencing the euphoric bliss of realizing their dreams with sky-high hopes for the future. This idea of escaping into an idealistic version of the past is, in fact, a key theme in “Last Night in Soho.” Eloise gradually sees the cracks in the facade, observing how the sexism of the time continues to infest the London of today, rendering her deeply traumatized. 

Although Wright and co-writer Krysty Wilson-Cairns aren’t able to massage this concept into something truly impactful, Wright deploys nearly every cinematic tool at his disposal to catch viewers off-guard in the grim second half, in which the film shifts from a coming-of-age tale to a mystery to outright horror. Combining giallo-inflected, fever-dream lighting and camera movements with a soundscape mixing together classic tunes and foreboding ambiance with whispers of dialogue, “Last Night in Soho” depicts Eloise’s mental turmoil with immersive aplomb.

However, this jack-of-all-trades approach sacrifices the dramatic pull that could have elevated it to another level. Firstly, we don’t get to spend enough time with Sandie for her to feel like a fully developed character. Taylor-Joy brings a confident energy to her performance that’s always entertaining to watch, but Sandie is kept frustratingly distanced from viewers throughout. We only witness snippets from the highs and lows of Sandie’s burgeoning career, eschewing nuance to keep the story moving forward at an overly brisk pace. 

Additionally, when the horror arrives, “Last Night in Soho” has predictable jump scares and generic-looking baddies. It also lacks much of the clever self-awareness that helped make Wright’s other films so successful. Moments of dark comedy are certainly here — Terence Stamp chews scenery to a pulp as a sketchy creep who would fit in well among the “Greater Good” crowd — but “Last Night in Soho” takes itself quite seriously, even in its ludicrous finale, in which Sandie takes center-stage and Eloise’s arc is left frustratingly streamlined.

Along with a token Black character willing to risk his life for Eloise despite barely knowing her and an unnecessary slasher detour in the climax, the film becomes ever-more trippy, losing sight of the real societal issues that Wright and Wilson-Cairns obviously care so much about.

“Last Night in Soho” is easy to get lost in. When you peel back the curtain, though, it’s a cinematic ride built on a rickety foundation.

Thomasin McKenzie

“The Last Night in Soho” is a 2021 psychological mystery-thriller directed by Edgar Wright and starring Thomasin McKenzie, Anya Taylor-Joy, Diana Rigg, Terence Stamp, Matt Smith. Its run time is 1 hour, 56 minutes, and it is rated R for bloody violence, sexual content, language, brief drug material and brief graphic nudity. It opened in theatres Oct. 29. Alex’s Grade: B.

The Critics Choice Association (CCA) announced the winners of the 26th annual Critics Choice Awards LIVE on The CW during an in-person/virtual hybrid ceremony hosted for the third time by acclaimed film, television, and stage star Taye Diggs on Sunday, March 4.  The full list of winners can be found below. 

“Nomadland” led the winners in the film categories, taking home four awards including Best Picture, Best Director and Best Adapted Screenplay for Chloé Zhao, and Best Cinematography for Joshua James Richards.  Zhao is the first Chinese woman to win as either director or writer. 

“Ma Rainey’s Black Bottom” followed closely behind, winning three categories including Best Actor for the late Chadwick Boseman, Best Costume Design, and Best Hair and Makeup.  Best Actress was awarded to Carey Mulligan for “Promising Young Woman,” which also earned a Best Original Screenplay win for Emerald Fennell.  Best Supporting Actor went to Daniel Kaluuya for “Judas and the Black Messiah,” and Best Supporting Actress to Maria Bakalova for “Borat Subsequent Moviefilm.”   

In the series categories, “The Crown” took four categories, the most of the night, winning Best Drama Series, Best Actor in a Drama Series for Josh O’Connor, Best Actress in a Drama Series for Emma Corrin, and Best Supporting Actress in a Drama Series for Gillian Anderson.  In the comedy genre, “Ted Lasso” won all three categories for which it was nominated: Best Comedy Series, Best Actor in a Comedy Series for Jason Sudeikis, and Best Supporting Actress in a Comedy Series for Hannah Waddingham.  “The Queen’s Gambit” took the prize for Best Limited Series, and its leading lady Anya Taylor-Joy won Best Actress in a Limited Series or Movie Made for Television. 

The race for “Best Comedy Special,” which was dominated entirely by Netflix nominees, resulted in a tie between “Jerry Seinfeld: 23 Hours to Kill” and “Michelle Buteau: Welcome to Buteaupia.” 

As was previously announced, John David Washington presented this year’s SeeHer Award to his “Malcolm & Marie” co-star, Zendaya.  The SeeHer Award recognizes a woman who embodies the values set forth by the SeeHer movement, to push boundaries, defy stereotypes and acknowledge the importance of authentic portrayals of women across the entertainment landscape. 

After leading the nominations, Netflix also won the most awards of any studio/network with a total of 14.  Amazon Studios and Searchlight Pictures each won four. 

Critics Choice Awards are bestowed annually to honor the finest in cinematic and television achievement.  Historically, they are the most accurate predictor of Academy Award nominations. 

The 26th annual Critics Choice Awards show was produced by Bob Bain Productions and Berlin Entertainment.  The CCA is represented by Dan Black of Greenberg Traurig. 

Follow the 26th annual Critics Choice Awards on Twitter and Instagram @CriticsChoice and on Facebook/CriticsChoiceAwards.  Join the conversation using #CriticsChoice and #CriticsChoiceAwards. 

FILM CATEGORIES 

BEST PICTURE 

Nomadland (Searchlight Pictures) 

BEST ACTOR 

Chadwick Boseman – Ma Rainey’s Black Bottom (Netflix) 

BEST ACTRESS 

Carey Mulligan – Promising Young Woman (Focus Features) 

BEST SUPPORTING ACTOR 

Daniel Kaluuya – Judas and the Black Messiah (Warner Bros.) 

BEST SUPPORTING ACTRESS 

Maria Bakalova – Borat Subsequent Moviefilm (Amazon Studios) 

BEST YOUNG ACTOR/ACTRESS 

Alan Kim – Minari (A24) 

BEST ACTING ENSEMBLE 

The Trial of the Chicago 7 (Netflix) 

BEST DIRECTOR 

Chloé Zhao – Nomadland (Searchlight Pictures) 

BEST ORIGINAL SCREENPLAY 

Emerald Fennell – Promising Young Woman (Focus Features) 

BEST ADAPTED SCREENPLAY 

Chloé Zhao – Nomadland (Searchlight Pictures) 

BEST CINEMATOGRAPHY 

Joshua James Richards – Nomadland (Searchlight Pictures) 

BEST PRODUCTION DESIGN 

Donald Graham Burt, Jan Pascale – Mank (Netflix) 

BEST EDITING – TIE  

Alan Baumgarten – The Trial of the Chicago 7 (Netflix) 

Mikkel E. G. Nielsen – Sound of Metal (Amazon Studios) 

BEST COSTUME DESIGN 

Ann Roth – Ma Rainey’s Black Bottom (Netflix) 

BEST HAIR AND MAKEUP 

Ma Rainey’s Black Bottom (Netflix) 

BEST VISUAL EFFECTS 

Tenet (Warner Bros.) 

BEST COMEDY 

Palm Springs (Hulu and NEON) 

BEST FOREIGN LANGUAGE FILM 

Minari (A24) 

BEST SONG  

Speak Now – One Night in Miami (Amazon Studios) 

BEST SCORE 

Trent Reznor, Atticus Ross, and Jon Batiste – Soul (Disney) 

SERIES CATEGORIES 

BEST DRAMA SERIES 

The Crown (Netflix) 

BEST ACTOR IN A DRAMA SERIES 

Josh O’Connor – The Crown (Netflix) 

BEST ACTRESS IN A DRAMA SERIES 

Emma Corrin – The Crown (Netflix) 

BEST SUPPORTING ACTOR IN A DRAMA SERIES 

Michael K. Williams – Lovecraft Country (HBO)

BEST SUPPORTING ACTRESS IN A DRAMA SERIES 

Gillian Anderson – The Crown (Netflix) 

BEST COMEDY SERIES 

Ted Lasso (Apple TV+) 

BEST ACTOR IN A COMEDY SERIES 

Jason Sudeikis – Ted Lasso (Apple TV+) 

BEST ACTRESS IN A COMEDY SERIES 

Catherine O’Hara – Schitt’s Creek (Pop) 

BEST SUPPORTING ACTOR IN A COMEDY SERIES  

Daniel Levy – Schitt’s Creek (Pop) 

BEST SUPPORTING ACTRESS IN A COMEDY SERIES 

Hannah Waddingham – Ted Lasso (Apple TV+) 

BEST LIMITED SERIES 

The Queen’s Gambit (Netflix) 

BEST MOVIE MADE FOR TELEVISION 

Hamilton (Disney+) 

BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION 

John Boyega – Small Axe (Amazon Studios) 

BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION 

Anya Taylor-Joy – The Queen’s Gambit (Netflix) 

BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION 

Donald Sutherland – The Undoing (HBO) 

BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION   

Uzo Aduba – Mrs. America (FX) 

BEST TALK SHOW 

Late Night with Seth Meyers (NBC) 

BEST COMEDY SPECIAL – TIE  

Jerry Seinfeld: 23 Hours to Kill (Netflix) 

Michelle Buteau: Welcome to Buteaupia (Netflix) 

BEST SHORT FORM SERIES 

Better Call Saul: Ethics Training with Kim Wexler (AMC/Youtube) 

About the Critics Choice Association (CCA)  

The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 400 television, radio and online critics and entertainment reporters. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the blurring of the distinctions between film, television, and streaming content. For more information, visit: www.CriticsChoice.com.