Review: ‘Last Night in Soho’ Loses Track of Itself

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Certain films grab you in the first scene, the first minute. Last Night in Soho has that kind of opening.

Eloise (Thomasin McKenzie) dances through her rural English home to Peter and Gordon’s “A World Without Love” in a newspaper prototype of a dress that she created.

While Soho plays out in modern times, you’d be forgiven if it takes you several minutes to realize. Eloise’s room, her music, her style are all rooted deep in the ’60s, a time that even her mom likely would’ve been too young to experience firsthand.

The countryside isolation makes the illusion that much easier to maintain.

Unfortunately, for both Eloise and the viewer, the film can’t hold onto the magic of that opening throughout its running time.

For her, that means the big city of London shatters her safely constructed world. For us, it means a film that eventually loses control of its tone and themes.

While it works, Soho showcases a stellar McKenzie performance. Having first “met” her in Leave No Trace, I have come to expect a certain more mature than her age quality from the actor.

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