‘Last Night in Soho’ Review: Edgar Wright’s Retro Horror Has Its Heart in the Sixties and Its Head All Over the Place

Have you ever noticed how the icily dramatic opening strings in “You’re My World,” Cilla Black’s earnest, bawling-on-the-bathroom-floor ballad from 1965, could just as easily be a shivery horror theme by Bernard Herrmann? Edgar Wright has, and uses the likeness to briefly spine-tingling effect early in “Last Night in Soho”: As ’60s-fixated Gen-z fashion student Eloise (Thomasin McKenzie) finds herself somehow transported in time to the Swinging London world of naive party girl and aspiring chanteuse Sandie (Anya Taylor-Joy), those strings signal not just the dreamy collision of timelines, but a darkening of tone and genre, as Eloise’s rosy nostalgia for an era she never inhabited is soon invaded by blood-dripping violence and threat.It’s a great needle-drop, from a filmmaker who has made them a trademark of his work, and it’s the one moment in which Wright’s murky, middling blend of horror and

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