Over the years, Edgar Wright has tackled and unpacked a multitude of genres, often within the same film. Zombies and the rom-coms comprised “Shaun Of The Dead, he turned the buddy cop action movie inside out with provincial England in “Hot Fuzz” and created a heist, action-musical love story with “Baby Driver.” Wright has tinged his films with horror elements before, like the aforementioned “Shaun” and 2013’s aliens/pub buddies action-comedy, “The World’s End,” but it’s always felt like something of a flirtation. “Last Night In Soho” looks to be his first true foray into the genre, and of course, it’s not straightforward horror either.
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Taking cues from freakish, psychological Brit-Horror classics like Nicolas Roeg‘s “Don’t Look Now” and Roman Polanski‘s “Repulsion,” “Soho” follows a young fashion designer who mysteriously returns to the 1960s and runs into her idol, a charismatic wannabe pop singer. However, all is not as it seems, and before the girl knows it, time and her ’60s fantasy begin to disintegrate, with dark and dire consequences.
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Anya Taylor-Joy, no stranger to horror with her stellar turns in “The Witch” and “Split,” leads a cast that includes Thomasin McKenzie (“Jojo Rabbit“) and Matt Smith (“Official Secrets“). The cast also stars elite British acting talent from the film’s period, including Diana Rigg (“On Her Majesty’s Secret Service“), Rita Tushingham (“Doctor Zhivago“), Terrence Stamp (“Teorema“), and Margeret Nolan (“Goldfinger“). “Soho” marks the final film performance for both Rigg and Nolan, who passed away in September and October 2020, respectively.
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Wright co-wrote “Soho” with Krysty Wilson-Cairns (“1917“) and co-produced alongside Tim Bevan, Eric Fellner, and Nira Park. Steven Price, who worked with Wright on “The World’s End” and “Baby Driver,” provides the film’s score.
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Will, “Last Night In Soho” be “straight” psychological horror, or does Wright have something slightly different up his sleeve? There have been rumors of time travel in the film too, and given Wright’s penchant for smashing things up in style all his own, it’s likely he’s putting some very clever twist on it all. Find out when the film hits theaters on October 22, from Focus Features in the U.S. and Universal Pictures overseas.
