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    Movie Review

    Edgar Wright's Last Night in Soho is a slow burn of psychological horror

    Alex Bentley
    Oct 28, 2021 | 2:15 pm
    Edgar Wright's Last Night in Soho is a slow burn of psychological horror
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    The interesting aspect about nostalgia is that it tends to go in cycles. It generally takes about 20 years for filmmakers to start looking back at a particular decade, such as the 1950s with American Graffiti in 1973, 1960s with Diner in 1982, 1970s with Dazed and Confused in 1993, and the 1980s with multiple properties in the 2000s.

    Writer/director Edgar Wright has flipped the script on nostalgia with his latest film, Last Night in Soho.

    The film centers on Ellie (Thomasin McKenzie), a modern-day young woman from rural England who gets accepted into a school in London to study fashion design. Ellie’s mother died when she was young, and she still has occasional visions of her, an ability that plays a part in her new life. Unable to stand her overbearing and bullying roommate Jacosta (Synnove Karlsen), Ellie finds a room to rent in a home owned by Miss Collins (Diana Rigg).

    Right away, though, Ellie starts having dreams about Sandie (Anya Taylor-Joy), a woman in the 1960s who dreams of becoming a singer. Sandie’s dream soon becomes a nightmare when her manager (Matt Smith) coerces her into doing things she doesn’t want to do, both on stage and off. Ellie becomes obsessed with Sandie, conflating their two lives, leading to detrimental effects in school and her life as a whole.

    Co-written by Krysty Wilson-Cairns (1917), the film absolutely revels in 1960s nostalgia, especially a certain kind of nightclub music. Ellie, raised by her grandmother after her mom’s death, has a fondness for the oldies and plays the records constantly. Songs like Petula Clark’s “Downtown,” Dusty Springfield’s “Wishin’ and Hopin’,” James Ray’s “I’ve Got My Mind Set on You,” and more punctuate scenes throughout the film, emphasizing the mood of the film in ways both subtle and overt.

    The film is a slow burn, taking a lot of time to set up Ellie’s state of mind. So long, in fact, that you start to wonder if there will ever be a point to the story. The film is said to be an homage to giallo, an Italian term for a type of thriller/horror. While the ghosts Ellie encounters and the mystery surrounding her mental trips back in time qualify for that genre, the film struggles a bit in its ability to keep those things interesting long enough for the finale to arrive.

    Even at its slowest, though, McKenzie has a presence to her that keeps you interested in what her character will do next. At times resembling Ted Lasso’s Juno Temple in looks and demeanor, she credibly takes Ellie down a psychological rabbit hole, with her descent more frightening as the film goes along. Taylor-Joy, fresh off her fantastic turn in The Queen’s Gambit, is luminous, but the nature of her character makes her unknowable. Smith does a nice job in his villainous role, but it’s also enhanced by his hollow-eyed face.

    Whether or not audiences go along for the ride of Last Night in Soho will depend on their level of patience. It’s far from your typical thriller/horror, forcing viewers to wade through an unusual amount of setup before hopefully getting to a satisfying payoff.

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    Last Night in Soho opens in theaters on October 29.

    Diana Rigg in Last Night in Soho.

    Diana Rigg in Last Night in Soho
    Photo by Parisa Taghizadeh / courtesy of Focus Features
    Diana Rigg in Last Night in Soho.
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    Movie Review

    Timothée Chalamet cements star status in new movie Marty Supreme

    Alex Bentley
    Dec 23, 2025 | 4:30 pm
    Timothée Chalamet
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    Timothée Chalamet

    In a time when true movie stars seem to be going extinct, Timothée Chalamet has emerged as an exception to the rule. Since 2021 he has headlined blockbusters like the two Dune movies and Wonka, and also earned an Oscar nomination for playing Bob Dylan in A Complete Unknown (his second nomination following 2018’s Call Me By Your Name). Now, he’s almost assured to get his third nomination for the stellar new film, Marty Supreme.

    Chalamet plays Marty Mauser, a world-class table tennis player living in New York. But reducing Marty to his best skill doesn’t do him justice, as he’s also a motormouth schemer who will do almost anything to achieve his dreams. He doesn’t have any qualms about wooing married women like neighbor Rachel (Odessa A’zion) or actress Kay Stone (Gwyneth Paltrow), or hiding his true ping pong skills to win money in scams with friends like Wally (Tyler the Creator).

    Marty is seemingly on the go the entire movie, whether it’s trying to convince Kay’s millionaire husband Milton Rockwell (Kevin O’Leary) to fund his table tennis ambitions; or trying to track down the dog of Ezra (Abel Ferrara), a man he accidentally injures; or trying to avoid the ire of the boss at the shoe store where he works. Just when you think he might slow down, he’s off to the races on another plan or adventure.

    Directed by Josh Safdie and written by Safdie and frequent co-writer Ronald Bronstein, the film is an almost continuous blast of pure energy for 2 ½ hours. So many different things happen over the course of the film that the story defies conventional narratives, and yet the throughline of Marty keeps everything tightly connected. His particular type of brash behavior turns much of the film into a comedy as he does and says things that are both shocking and thrilling.

    Another thing that makes the movie sing is the fantastic characterization by Safdie and Bronstein. Almost every person who is given a speaking line in the film has a moment where they pop, which speaks to airtight dialogue that the writers have created. Characters will be introduced and then disappear for long stretches of time, and yet because they make such an impression the first time they’re on screen, it’s easy to pick up their thread right away.

    Safdie, as he’s done previously with brother Bennie (Uncut Gems), calls on a host of well-known non-actors or people with interesting faces/vibes to inhabit supporting roles, and to a person they are crucial to the film’s success. O’Leary (of Shark Tank fame), rapper Tyler the Creator, director Ferrara, magician Penn Jillette, and fashion designer Isaac Mizrahi each deliver knockout performances. The relative unknowns who play smaller roles are just as impressive, making each beat of the film feel naturalistic.

    Leading the way is the powerhouse performance by Chalamet. For one person to believably play both the famously reserved Dylan and also a firecracker like Marty is astonishing, and this role cements Chalamet’s status as his generation’s movie star. A’zion is a rising star who gets great moments as Marty’s on-again/off-again love interest. Paltrow pops in and out of the film, lighting up the screen every time she appears. Fran Drescher as Marty’s mom and Sandra Bernhard as a neighbor also pay dividends in small roles.

    Josh Safdie’s first solo directorial effort is unlike any other movie this year, or maybe even this century. Thanks to its breakneck storytelling, a magnificent performance by Chalamet, and countless intangibles that Safdie employs expertly, the film smacks viewers in the face repeatedly and demands that they come back for more.

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    Marty Supreme opens in theaters on December 25.

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