Aspiring fashion designer Ellie (Thomasin McKenzie) leaves the English countryside of Cornwall to attend fashion school in London. Ellie loves the 1960s and to her luck, when she moves into her new flat she can mysteriously enter into ’60s Soho. It’s there she encounters fashionable aspiring singer Sandy (Anya Taylor-Joy). However, Ellie quickly learns that the glamour of the era isn’t what it appears to be. She gets pulled into the grim life Sandy was forced into until the past starts haunting Ellie into the present.
Director and Co-Writer Edgar Wright swings us into the dazzling world of London in the ’60s, with the help of outstanding set and costume design. During Ellie’s first foray, Wright uses mirrors to show how Ellie and Sandy are separated but attached. It’s magical to watch these mirror scenes, especially when they become more sinister. He spins this nostalgic fun into a Psychological Horror filled with terrifying ghosts. Wright uses lighting, sound and creative camera work that creates tension, suspense and scares.
Wright along with Co-Writer Krysty Wilson-Cairns have crafted a psychological horror centred around the horrors an aspiring female singer in the 60s, and even today would experience. Making it an examination of a moment in time when women would be conned and forced into a life where they were treated as currency. Without giving too much away, this is also a story of women taking back their agency.
Sandy’s story is being witnessed by modern-day Ellie, along with its audience. And Ellie, like us, iscarrying the beliefs of today into what she sees in the 60s. McKenzie excels at showing the increment changes in Ellie’s personality changes. She begins as a joyful, innocent girl heading to the big city. Once she visits the 60s, she becomes emboldened. And once we hit the third act, McKenzie shows the terror of Ellie’s daily life. It’s a feat to accomplish and McKenzie excels at every turn.
She’s joined by the force that is Taylor-Joy. Her undeniable talent to express emotion with one single glance is fully utilized. In the beginning, she shows Sandy’s determination and hope. As time passes, Sandy’s life becomes a prison run by her manager Jack, an impressive performance from Matt Smith. With this, Taylor-Joy makes us witness the light in Sandy’s eyes disappear. Additionally, there is a delightful performance from Diana Rigg as Ellie’s rulemaking live-in landlord.
Last Night in Soho is a Psychological Horror that builds tension and gives scares. It’s got a strong central storyline, pitch-perfect performances and has ample amounts of creative flair.
A new Trailer and Poster have arrived for Edgar Wright‘s LAST NIGHT IN SOHO starring Thomasin Mackenzie and Anya Taylor-Joy. How coincidental is it that Taylor-Joy starred as Thomasin in a breakout role in THE WITCH and now stars alongside Mackenzie? The Film premieres at TIFF ’21 this weekend after minds being blown in Venice.
Edgar Wright’s psychological thriller about a young girl, passionate in fashion design, who is mysteriously able to enter the 1960s where she encounters her idol, a dazzling wannabe singer. But 1960s London is not what it appears, and time seems to fall apart with shady consequences…
See the Teaser:
Also, some Stills from the Film:
LAST NIGHT IN SOHO arrives in theatres October 29, 2021 via Focus Features.
Winning pure raves out of HotDocs and Sundance, here is your first look at the Trailer for THE SPARKS BROTHERS from Edgar Wright.
Story: How can one rock band be successful, underrated, hugely influential, and criminally overlooked all at the same time? Edgar Wright’s debut documentary THE SPARKS BROTHERS, which features commentary from celebrity fans Flea, Jane Wiedlin, Beck, Jack Antonoff, Jason Schwartzman, Neil Gaiman, and more, takes audiences on a musical odyssey through five weird and wonderful decades with brothers/bandmates Ron and Russell Mael celebrating the inspiring legacy of Sparks: your favorite band’s favorite band.
Have you heard of Sparks? Have you not heard of Sparks? Quite frankly it doesn’t matter if you know the British/non British band, The Sparks Brothers is an excellent Documentary. Ron and Russell Mael have been making and performing music for over 50 years, going through reinventions of sound and style throughout their career. They managed to create sounds before they became popular, accused of plagiarizing themselves as their sound has inspired countless acts.
With wonderful direction from Edgar Wright, The Sparks Brothers encapsulates all of their music, style, and influence throughout fifty years of music and life. They left the United States to go to the UK where they were incredibly more popular, to creating an entire Synth album in the late ’70s, everything the Sparks have done has been criticized and revolutionary. Wright’s direction is flawless throughout the Documentary, providing every ounce of insight for the audience that is possible for Sparks.
The only issue that lays within this otherwise incredible and fun Documentary is the amount of information we are given. It gives a thorough and extensive look at Sparks throughout their entire career, and what could have changed if one thing or another changed. However, having never known of Sparks (by name) prior The Sparks Brothers, this Film was eye-opening and engaging.
After much acclaim at its debut at SXSW earlier this year, buzz musically-driven heist Film Baby Driver from Writer/Director Edgar Wright (Hot Fuzz, Shaun of the Dead) is shifting into high gear. By no means a stranger to Toronto, Wright‘s affinity for our city is well-documented, having made and premiered his cult hit Scott Pilgrim vs. The World here back in 2009 and 2010, the Film proudly set in the city.
Baby Driver boasts an A-List cast, fronted in the titular role by promising young talent Ansel Elgort (The Fault in our Stars) which sees his character, a runaway driver, coerced into working for a mysterious criminal named Doc (Kevin Spacey) in an ill-fated heist which both could help him start afresh and also destroy everything he has including his burgeoning romance with Debora (Lily James). Jamie Foxx, Jon Hamm, Jon Bernthal and Eiza González star also.
Our Siobhán Rich had the pleasure of chatting with Wright about the Film at its recent Premiere here in Toronto. She chats with him about his return to the city, the music that is so integral to the Film and his love for Poutine!
Baby Driver was a massive hit at SXSW where it premiered. Can you tell us about what inspired this Movie?
Wright: “It‘s basically my dream Movie of combining action and music together. I’ve been thinking about it in some form for over 20 years, so it’s exciting having it exist not only in my head but also in cinemas.”.
Music is so important in this Movie and some of the songs are specifically mentioned in the script. Did you already have clearance on all the music before shooting?
Wright: “We didn’t shoot anything without clearing anything first.”.
Were there any songs you couldn’t get?
Wright: “Nothing really famous, some dance songs had samples in them that were not clearable.”.
What is it about Toronto that keeps drawing you back?
Wright: “This is my first time here in four years actually. I wish I came here more often. I did film Scott Pilgrim here eight years ago.”.
Of course, you have the Cornetto trilogy. Do you think we can get you back here for a few more movies? The Poutine Trilogy, perhaps?
Already one of this summer’s most talked about Films, you must see the sizzling new Trailer for Edgar Wright’s BABY DRIVER!
A talented, young getaway driver (Ansel Elgort) relies on the beat of his personal soundtrack to be the best in the game. When he meets the girl of his dreams (Lily James), Baby sees a chance to ditch his criminal life and make a clean getaway. But after being coerced into working for a crime boss (Kevin Spacey), he must face the music when a doomed heist threatens his life, love and freedom.
Written & Directed By: Edgar Wright
See the Trailer:
Sony Pictures Canada release BABY DRIVERFriday, June 28, 2017.