LAST NIGHT IN SOHO (2021)

October 28, 2021

Greetings again from the darkness. Every once in a while a movie captures that magic feeling of being swept away, and this wild film from writer-director Edgar Wright and co-writer Kristy Wilson-Cairns (1917) did just that for me. This is my kind of psychological-horror-thriller and with the exception of one sequence that went a bit too “slasher” for my tastes, I had a blast watching it. I’ll admit that, while also acknowledging more people will probably not enjoy this, than will. But for those who do, I feel confident they will share my enthusiasm.

Eloise (Thomasin McKenzie, JOJO RABBIT, 2019) opens the film by expressively dancing to Peter & Gordon’s “A World Without Love” while sporting a self-designed dress made of perfectly creased newspaper. Her room is filled with 1960’s colors and memorabilia and we soon learn she’s an orphan raised by her grandmother (Rita Tushingham, A TASTE OF HONEY, 1961). Eloise, or Ellie as she’s called, dreams of following her mother’s path to London, and is thrilled beyond measure when her acceptance letter arrives from the London School of Fashion. Ellie does carry the burden (and visions) of her mother’s mental illness, and her grandmother warns, “London can be a lot.”

Small town (Cornwall) Ellie with her timidity and wide-eyed innocence arrives in London and is immediately the target of ‘mean girl’ and fellow student Jocasta (Synnove Karlsen). Rather than subject herself to the abuse, Ellie sublets an attic room from an old lady landlord named Mrs. Collins (the last screen appearance for the great Diana Rigg). Ellie loves the room and her independence, but her dreams act as a portal back to those swinging 60’s of which she’s so fond. But that’s only the beginning. It’s here where she follows/becomes Sandie (Anya Taylor-Joy), and the mirror effects are truly other-worldly. Sandie is everything that Ellie wishes she was herself – confident, radiant, ambitious, and beautiful. This dream state allows Ellie to live vicariously through Sandie. At least initially.

The Ellie-Sandie sequences mess with your head in a wonderful way. Sandie seems to float across the club’s dance floor, and Ellie is mesmerized at first, before turning protective. The tone shifts when Sandie meets sleazy Jack (Matt Smith), a would-be agent who promises to get Sandie the shot at stardom she desires. This leads to ATJ’s amazing and breathy version of Petula Clark’s “Downtown”. It’s a standalone highlight of the film, and a moment that shifts the story yet again. If you are struggling to keep pace, you’re not alone.

Soho’s glamour is matched only by its grunge. The recurring dreams turn to nightmares, so that even Ellie’s waking hours are surreal. A mysterious elderly gent played by Terence Stamp may be the key to the mystery Ellie’s so busy trying to solve that she is oblivious to the romantic overtures by nice guy John (Michael Ajao). The nostalgia of the 60’s provides a visual treat with the Café de Paris, a massive theater marquee advertising James Bond’s THUNDERBALL, and Cilla Black’s “You’re My World”.

Filmmaker Wright gives us so much to discuss, but it’s crucial that the best parts not be spoiled. Just know that Oscar winner Steven Price (GRAVITY, 2013) provides an incredible mix of music, while Chung-Hoon Chung’s cinematography, Marcus Rowland’s Production Design, and Odile Dicks-Mireaux’s costumes all nearly steal the show. But of course, that can’t possibly happen thanks to the stupendous performances from Anya Taylor-Joy and (especially) Thomasin McKenzie. These are two of the finest young actors working today, and we will be fortunate to watch their careers develop.

Edgar Wright is having quite a year. He’s already delivered the terrific documentary, THE SPARKS BROTHERS, and now comes what is his best work yet. You may know his work on BABY DRIVER (2017) or the Three Flavours Cornetto trilogy that kicked off with SHAUN OF THE DEAD (2004). Here, he playfully bounces between genres serving up time travel, a murder mystery, the Soho history, a memorable soundtrack, surreal dream and ghost sequences, a touch of romance, and that previously mentioned ‘slasher’ scene. A final tip of the cap to Diana Rigg, whose career spanned her role as Emma Peel in “The Avengers” (from the 60’s), her time as a Bond girl in ON HER MAJESTY’S SECRET SERVICE (1969), and ultimately as Olenna Tyrell in “Game of Thrones”.

Opens in theaters on October 29, 2021

WATCH THE TRAILER

2 Comments | Drama, Fantasy, Horror, Thriller | Tagged: , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

GRAVITY (2013)

October 9, 2013

gravity1 Greetings again from the darkness. Gravity is a visually stunning film that creates a you-are-there-in-space feeling unlike any other.  That said, hopefully you aren’t expecting yet another in the seemingly endless stream of unadulterated praise fests for Alfonso Cuaron’s critically beloved and audience pleasing film. While the mass appeal is certainly understandable, I’ve never been one to sit back and accept the surface value.

There are two elements for discussion here: the visually stunning and technical marvel from a filmmaking perspective, and the emotionally-manipulating and somewhat emptiness of the narrative story-telling and characters. On the technical front, one would be hard-pressed to come up with a more impressive film. It is simply breath-taking, gravity2especially when seen in the format it should be seen … 3D IMAX. Rarely, if ever, has space seemed more real, more beautiful and more ominous. From the extended opening take (Cuaron is known for his long takes), to the numerous shots of Planet Earth (from dominating the screen, to reflections in helmet shields), we are drawn in to the space walking and perils of Kowalski (George Clooney) and Dr Ryan Stone (Sandra Bullock).  Even Carl Sagan and his “pale blue dot” musings would admire these space-based visuals of our home planet.

From an entertainment viewpoint, the film works as a high-stress, thrilling space mission gone bad and ultimate survival story. What left me feeling a bit distracted and hence, quite annoyed, was the often eye-rolling dialogue seemingly designed to force our connection with the Clooney and, especially, Bullock characters. I prefer to experience my own emotions in both real life and in movies … obvious cues and manipulating tugs through weak character development drives me away from, rather than towards the desired connectivity. My issues with the film are not related to the numerous scientific issues identified by astrophysicist Neil deGrasse Tyson and astronaut Buzz Aldrin. This is all explained away by Mr. Cuaron’s statement that the film is “not a documentary“. If we can be cool with Forrest Gump creating the smiley face, we can accept that Sandra Bullock can navigate her way between space stations with a fire extinguisher.  What I can’t be cool with are cheap writing ploys that tell me I must feel a specific emotion at a particular time for a certain character.

gravity3 Despite this, it’s tough to argue against the technical marvel and thrilling (computer generated) experience created here. The 3D adds depth of field and adds a touch of realism, rather than the gimmicky tricks we often see with the format. With only a couple of jarring exceptions, Steven Price’s score is minimal and complimentary to the quietness of space. Director of Photography Emmanuel Lubezki (Children of Men) re-teams with Cuaron for the extraordinary look (with probably numerous technical Oscars on the way). Some of the symbolism was a bit overdone – recurring umbilical imagery for the re-birth, but it’s done to ensure no viewer misses the point. Finally, I got a kick out of Ed Harris’ voice coming from Mission Control (think back to The Right Stuff and Apollo 13).

I would encourage you to seek out the largest screen with the best sound … 3D IMAX is greatly preferred.  Yes, it will cost you more than you should pay for a movie ticket, but the payoff is significant.  This one won’t be the same on your ipad or even your home theater system. It’s the first step forward in movie technology since Avatar.  If you can sit back and let the movie guide you, perhaps you will avoid the frustrations I experienced.

**NOTE: Although many critics have already proclaimed this the best picture of the year and are saying Sandra Bullock is a shoe-in for Best Actress, I will not be onboard with either.  I found it fascinating and would even label it a “must see”, but truly great movies have characters and stories that draw me to them.

SEE THIS MOVIE IF: you have access to a theater with a huge screen and great sound system – preferably 3D IMAX

SKIP THIS MOVIE IF: you miss its theatrical run … watching it on your laptop or ipad 6 months from now will be time wasted

watch the trailer:

http://www.youtube.com/watch?v=xgGPTa7-vlE

 

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Posted by David Ferguson