Speaking to Empire earlier this year, Wright teased his intention to make Last Night In Soho, returning to home soil after the Atlanta, Georgia setting of Baby Driver. "I realised I had never made a film about central London – specifically Soho, somewhere I've spent a huge amount of time in the last 25 years," he explained. "With Hot Fuzz and Shaun Of The Dead you make movies about places you've lived in. This movie is about the London I've existed in." Wright also listed Don't Look Now and Repulsion as influences on this one.
Wright's cinematographer on this one is Chung-hoon Chung – a regular collaborator of Park Chan-Wook, who shot Oldboy, Thirst, Stoker, and The Handmaiden with the Korean auteur, among others. Wright co-wrote the film with Krysty Wilson-Cairns, and the project's cast is led by modern-day scream queen Anya Taylor-Joy – joined on screen by the likes of Matt Smith and Leave No Trace's Thomasin McKenzie.
https://www.empireonline.com/movies/news/edgar-wright-horror-last-night-soho-starts-shooting/
Wright's first horror movie. Excited to this.
He posted the first still a while ago.
https://twitter.com/edgarwright/status/1167563991041925122
Btw, Chung Chung-hoon is the cinematographer for this.
No talk about this? It's premiering at TIFF, and the Trailer looks interesting:
https://www.youtube.com/watch?v=tB9WUIv9KH8
Quote from: WorldForgot on May 25, 2021, 10:05:15 AM
QuoteEdgar Wright's psychological thriller about a young girl, passionate in fashion design, who is mysteriously able to enter the 1960s where she encounters her idol, a dazzling wannabe singer. But 1960s London is not what it appears, and time seems to fall apart with shady consequences...
Dang, no matter how it ends up hitting (Baby Driver iz fun fluff, somehow I find Spaced + Hot Fuzz to have more substance, although they are really meta-texts on entertainment, Scott Pilgrim iz unmatched as Grand Pop-Art) -- I suspect this plot will be ripe for analyzing along the linez of Mark Fisher's hauntology + lost futurez.
Quote from: Alma on May 25, 2021, 01:27:58 PM
https://twitter.com/edgarwright/status/1397238328072851459
This looks fun, v. Suspiria/Repulsion inspired. Will be cool to see Terence Stamp, Rita Tushingham and Diana Rigg (RIP) in a 60s set film, he always has great casting choices.
Quote from: pynchonikon on May 25, 2021, 02:18:34 PM
As much as I like Edgar Wright, I don't feel he's the right guy to pull such stuff off, the trailer seems like walking the line between self-seriousness and intentional cheesy. I guess the script he co-write with Krysty Wilson-Cairns (she was apparently in the writing team of Penny Dreadful's final season) will have more of her input than his.
I see. Either I'm bad at navigating the forum, or I miss these things when they pop up (perhaps a bit of both, and those are not mutually exclusive either and probably related).
Haha, all good! Part of that fault's on me probably for putting it in the Director's thread rather than the Film's.
I'm trying to better organize where I post, after a recent dope discussion (https://xixax.com/index.php?topic=9379.msg368835;topicseen#msg368835) on this same organizational topic.
Premiering Out of Competition in Venice.
This is stupendously bad and self-implodes in most contradictory and morally bankrupt manner
Edgar Wright being an ebullient visualist prevents this from being much worse but this is the best he's capable of in horror genre? Really? Such a nothing movie that tries to be about everything
I hate Baby Driver, but it's pretty funny that it got Wright a constant Beats product placement for his follow-up, apparently. (Just watched half of the trailer.)
Quote from: Drenk on October 29, 2021, 04:20:01 PM
I hate Baby Driver...
(I thought I was the only one. )
THE CARD COUNTER springs to mind.
Quote from: wilberfan on October 29, 2021, 04:30:46 PM
Quote from: Drenk on October 29, 2021, 04:20:01 PM
I hate Baby Driver...
(I thought I was the only one. )
I hate Baby Driver too. Thought Last Night in Soho was better. Some interesting moments but ultimately falls apart.
Saw this tonight. Thought it was decent. Edgar Wright's writing has always struck me as pretty surface-level ... which is fine if I'm in the mood for something light and kind of campy. This one dragged a bit in the middle and later on. The thriller aspect was too fluffy to really be frightening at all. Wright's visual storytelling is usually really good; in this one the visuals were nice but the visual storytelling holds the audience's hand too much (e.g.,
showing the drawing on the bar twice to remind the audience that Ellie forgot it there
).
For what it's worth, I wasn't really a fan of Baby Driver either. I really enjoy the Cornetto Trilogy, though.
Saw this at the weekend and felt pretty mixed on it.
I thought the first half was really enjoyable, particularly all the 60s stuff; when she emerges to the Thunderball marquee it was such a great moment.
The second half did really fall apart though - one of the issues for me was that the film seemed to reach its crisis point way too early - therefore what felt like the entire second half was Thomasin running around wild-eyed and screaming, which soon lost its tension and meant the film became inert, as well as making some of the character decisions seem inexplicable.
The characters were mostly either very broadly drawn or ciphers - Wright isn't exactly the most subtle director or especially writer and he couldn't really control the second half. Having said that Stamp, Rigg and Tushingham were all really good and it was lovely to see them in the same film.
Hmmm.
So Wright remains an adoring cinephile making movies that are echoes - so a plot about
ought to have been ripe for some Mark Fisher-esque hauntings. Even if it was simply in the allusions and nods. Instead a strong opening characterization never becomes much. Like the script can't decide what to focus on. Blerg.
Its design and production iz fun, and if I'm putting it into context of his previous work it's attempting more than Baby Driver. But as an attempt, its grab bag works aesthetically and not as a screenplay - not if Sandy or Ellie were to really be given their due. As Alma mentions, the supporting characters are beyond flimsy, basically vapor, unfortunately.
And I hated
the johns asking for help, because it hardly makes sense thematically or to Ellie's decision and the movie stops for an entire awkward beat with the once-spooky effects now at a limp standstill.
Can we all at least agree that the soundtrack, as in most Wright flicks, was pretty damn good?
I like it! A handful I'd never heard before.
Loved the
needledrop.
This was okay. That's about all the passion I can conjure for it.
"Vapor" is good descriptor. Thematically it just dissipates into nothingness. It's like they had a good premise but started shooting before they knew what they wanted to do with it. There's a heartbreaking absence of actual ideas.
The whole final act was like watching the writing process in action. Sandy was a victim, but wait she's a serial killer, but wait she didn't mean for any of it to happen. What?