On the surface, Edgar Wright’s Last Night in Soho opens like a rite of passage movie, leaning into London locations as a transformative catalyst for Thomasin McKenzie’s Eloise: A naïve, talented, and socially awkward twentysomething trying to find her feet in the big city. However, what emerges over the course of two hours is an increasingly inventive sensory assault, melding the kaleidoscopic color palette of 1960s London with Stanley Kubrick circa 1979.
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