‘Last Night In Soho’ Sees Edgar Wright Running On The Fumes Of Old Enthusiasms [Venice Review]

Last Night in Soho.Wright explained to Total Film that the Pulp Fiction filmmaker – also his longtime friend – inspired him when discussing a song by Dave Dee, Dozy, Beaky, Mick & Tich.“In Death Proof, Quentin uses a Dave Dee, Dozy, Beaky, Mick & Tich song, ‘Hold Tight’,” Wright said.“I was talking to him about that song, and that band, and he said, ‘Have you ever heard ‘Last Night in Soho?’’ He played it for me, and he goes, ‘This is the best title music for a film that’s never been made.’”The

Edgar Wright is bringing a bit of London in the swinging ‘60s to Toronto with his latest film, the psychological thriller “Last Night In Soho”. Together with co-writer Krysty Wilson-Cairns, the duo tells ET Canada about bringing Soho to life with Anya Taylor-Joy and Thomasin McKenzie.

Toronto International Film Festival, is also the best high-camp scary flick since “Black Swan.” The demure ingénue, Ellie (Thomasin McKenzie), actually has a lot in common with the whack-job ballerina that won Natalie Portman her first Oscar back in 2011.

Anyone who is a fan of filmmaker Edgar Wright’s movies will know that he’s a giant cinephile with a knack for countless references and needle drops to older decades and classic filmmakers. But his new film “Last Night in Soho” warns that idolizing the past too much can be trouble.

“Should you still be drinking?” she asks, and it’s pointed, but everything they say to each other is pointed. Jo Henninger (Jessica Chastain) and her husband David (Ralph Fiennes) have been married for something like a dozen years, and it’s not going well; they guard each other with barely-veiled (if that) contempt, and their interactions are less like conversations than jousts, a constant barrage of little jabs and snipes.

In shades of the gunmetal gray that has become the grading palette of choice for Serious Historical Epics — possible because arterial blood spray shows up so nice and red against it —Ridley Scott‘s starry, surprisingly engaging “Rashomon“-inflected “The Last Duel” opens on the wintry December day of the duel in question.

The past is full of surprises.

TheWrap’s critic calling it Wright’s best movie since his debut “Shaun of the Dead” and singling out its eclectic ’60s needle drops and sly references to other art house movies of the day. “Last Night in Soho” also stars Matt Smith, Terence Stamp, Diana Rigg, Rita Tushingham, Michael Ajao and Synnøve Karlsen.

Edgar Wright fans rejoice: after waiting nearly a year for the director’s new film, “Last Night In Soho” finally had its world premiere at the Venice Film Festival just recently. It’s Wright’s first straight-up horror film of his career and his latest feature since 2017’s “Baby Driver.” Given the director’s penchant for genre deep-dives, this makes “Soho” one of the most anticipated films of 2021.

Character actor Tim Blake Nelson may have found his niche in memorable turns recalling the heyday when Westerns ruled the roost in Hollywood. Or at least in Venice, where this film festival once again has shown a fondness for the star in a genre that rarely gets much of a closeup anymore.

“True Things” is a “romantic” drama that is not romantic in the slightest. In the tradition of films like Catherine Breillat’s “Romance” and Adrian Lyne’s “9 ½ weeks,” the focus is on what is revealed about a female protagonist by how much she is willing to sacrifice to briefly experience passion with an unreliable yet sexy man.

Like finding a grubby, balled-up bill in your spangly g-string and uncrumpling it to discover doughy old Ben Franklin staring benignly back at you, Ana Lily Amirpour‘s third feature is a sweet, scuzzy surprise made all the sweeter/scuzzier because you don’t know quite what you did to deserve it.

Anya Taylor-Joy and Matt Smith have sparked dating rumours after appearing together at Venice Film Festival. The pair were caught putting on a cosy display during a boat ride in Venice on Saturday before walking the red carpet together at the premiere of their film, Last Night In Soho, during the 78th edition of the film festival.

Co-stars Anya Taylor-Joy and Matt Smith have further fuelled romance rumours after the pair stunned on the red carpet at the premiere of their new movie Last Night In Soho, during the 78th edition of the Venice Film Festival.

Ramin Setoodeh Executive EditorThe Venice crowd at the Sala Grande theater could not take their eyes off Anya Taylor-Joy during Edgar Wright’s trippy psychological thriller “Last Night in Soho.”But when the movie ended just after midnight on Saturday and the spotlight shone on the cast to receive applause from the festival attendees, as is tradition, Taylor-Joy was nowhere to be found.Had she left her own movie?Director Edgar Wright and Matt Smith applauded along with the crowd — as confusion

Anya Taylor-Joy has always been a fashion icon and her latest red carpet look continues to cement her status as one!

A poetic meditation on film, history, and loss, “Three Minutes – A Lengthening” gives a glimpse into a lost world and then unpacks just how much can be learned from that brief fragment. While on a grand tour of Europe in 1938, David Kurtz, a Polish-American man, traveled to Nasielsk, the town of his birth, and brought with him a 16mm camera filled with Kodachrome, a novelty at the time.

“Why does it take so long to break up? Why does no one talk about the fact that [divorce] is endless trauma?” Jessica Chastain asks in a heartbreaking moment from HBO’s devastating marital and breakup mini-series “Scenes From A Marriage.” A modern adaptation of Swedish filmmaker Ingmar Bergman’s brutally emotionally honest 1970s series, now written, directed, and executive produced by Israeli filmmaker Hagai Levi, (“Our Boys,” “The Affair,” and “In Treatment”), this new HBO version is intimate,

Leave it to Edgar Wright to play with genre expectations and deliver yet another delightfully off-kilter thriller that also thrills with its undeniably trippy atmosphere and blast to the past of swinging 60’s London. The director of films like Baby Driver, Scott Pilgrim Vs.

Guy Lodge Film CriticHave 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