Last Night in Soho Movie Explained: What’s Up With the Ending?

Last Night in Soho is a new Edgar Wright film starring Anya Taylor-Joy, Thomasin McKenzie and Matt Smith. The events of the movie are transferred from modern London to the 1960s, where under the rhythmic melodies of British hits the neon fairy tale turns into an urban horror.

Last Night in Soho movie meaning

Genre drama, thriller, horror
Directed by Edgar Wright
Starring Anya Taylor-Joy (Sandy), Thomasin Mackenzie (Eloyce), Matt Smith (Jack), Diana Rigg (Ms. Collins), Michael Ajao (John), Terence Stamp (An Unknown Gentleman), and others.
Complete Fiction, Film4, Focus Features International
Year of release 2021
IMDb website

One of Edgar Wright’s first feature films was the comedy horror film Shaun of the Dead. After that, the director made a movie based on the comics “Scott Pilgrim vs. the World” (Scott Pilgrim vs. the World) and released the action movie “Baby Driver” (Baby Driver).

Edgar Wright created his new project with screenwriter Christy Wilson-Kerns (previously worked on the war drama 1917 directed by Sam Mendes) – they made a dramatic thriller about the dreams of youth, which gradually becomes a horror with a mysterious journey into the past. Last Night in Soho is not like the director’s previous films: there is no goofiness at all, but there is impressive choreography and an unusual approach to the unfolding of the story.

The actions of the movie take place in the present day. Shy girl Eloys (played by Thomasine Mackenzie, known for the movie Jojo Rabbit) comes to London to study fashion. The first days in the university dormitory are not easy for her, so the heroine moves to a rented room located in a busy neighborhood. At the new place Eloys begins to dream realistic dreams, in which the girl is transported to the enchanting 60’s and observes the life of a spectacular singer Sandy (Anya Taylor-Joy from the series The Queen’s Gambit). Gradually the dreams become more interesting than reality, but in just one moment they turn into a real nightmare that goes beyond night visions.


Last Night in Soho is a story of nostalgia for a cult decade that turns out not to be as romantic as the modern generation imagines it to be. At first, the filmmakers charm you with the incredible atmosphere of Soho at night – every corner is lit up with brightly colored signs, bars are filled with cheerful songs, alcohol is flowing, and couples are rushing to take over the dance floor. It seems that there is no more atmospheric place in the world, beckoning with dazzling spotlights and new acquaintances. Only some time later the flashing neon lights turn into a sinister flicker, charming smiles turn into predatory sneers, and limitless opportunities become a trap.

Interestingly, the movie didn’t start with a script, but with Edgar Wright’s playlist. The director spent years collecting his favorite songs, which eventually inspired him to create a nostalgic horror (the film features songs by pop duo Peter and Gordon, rock band The Kinks and soul singer Dusty Springfield). Despite the diversity of the soundtrack, the most memorable number is the performance of Anya Taylor-Joy with the song “Downtown” (it is a cover of the song, which in 1964 was performed by British singer Petula Clark).


When Anya Taylor-Joy appears in the frame, you can’t take your eyes off the screen. The actress feels the right atmosphere, shows artistic confidence and knows how to play up her character’s outfits. Moreover, she does a great job with the dance numbers and clever staging of scenes in which Taylor-Joy switches places with Thomasin McKenzie. They mirror each other’s moves while standing next to Matt Smith’s character (an actor known for the Doctor Who series), who also participates in the dance.

When Thomasin McKenzie’s character becomes fascinated by someone else’s story and becomes obsessed with traveling to old London, the movie has elements of horror. It is noteworthy that Edgar Wright uses them not to frighten the audience, but to show the other side of a beautiful life. At the same time, the tape is a little hung up on the same type of techniques that increase the fright of the protagonist. Also, the overall impression of the movie is spoiled by naive moments and nuances of the denouement, which lead to nothing.

Otherwise, Last Night in Soho is a beautiful film, which goes from a dreamy plot to a thriller, and then turns into a horror about the repulsive side of the 60s. By the way, Edgar Wright’s picture was praised by Stephen King, calling it a very special movie.


Anja Taylor-Joy’s artistry; the vivid atmosphere of 1960s nightlife; the choreography of the scenes; a horror trip back in time

The naiveté of some scenes; one-liners with the protagonist’s scare


“Last Night in Soho” is a story about nostalgia for an iconic decade that turns out not to be as romantic as the modern generation imagines it to be.

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