the British director's boyish genre nostalgia only goes so far in an underwritten, strangely unscary time-hopping horror; "Last Night in Soho" is a surprising misfire, all the more disappointing for being made with such palpable care and conviction
stylish but lifeless; Though visually sumptuous and a bunch of fun early on, Edgar Wright's take on sixties and seventies horror eventually devolves into unsatisfying spoof
it's an intense and intensely stylish noodle-twister lit up by Anya Taylor-Joy; It all makes for an immersive evocation of time and place, and a more sober, if still stylish, filmmaking flex from Wright; an especially satisfying trip into the unknown
it's an immensely pleasurable film that delights in playing with genre, morphing from time-travel fantasy to dark fairy tale, from mystery to nightmarish horror in a climax that owes as much to '60s Brit fright fare as to more contemporary mind-benders
it has plenty of The Wright Stuff yet feels entirely new. What a superb film; Not all of the jokes are brand new and not all of the plotting stands up to inspection, but the skill with which Wright navigates between tones and time periods is exceptional
Edgar Wright's lively London-set giallo, starring Anya Taylor-Joy and Thomasin McKenzie, fails to deliver on its fascinating premise; a sparky entertainment whose tricksy, hop-scotching screenplay sadly fizzles out by its final act
a gaudy romp that's stupidly enjoyable; Edgar Wright's time-travel film plays like a 60s pop song building towards a big climax; His film is thoroughly silly and stupidly enjoyable
a few flat ideas aside, this is a handsomely made horror film that expertly utilises the frightening talent of its young stars and draws Edgar Wright into a new, exciting chapter
"Last Night in Soho" is a truly original movie that takes command of the audience from its first moments, then confidently leads that audience up and down unexpected corridors