Last Night in Soho (2021)

Last Night in Soho (2021)

The cover to the Australian Bluray release

Film: Sometimes I just want to watch a film, you know?

Every time we turn around, we hear the words ‘franchise’ or ‘three film deal’ when it comes to cinema. Sometimes… actually most times, I just want to sit down and watch A film. Not something that requires prior knowledge, a rewatch of six films or a YouTube explanation as to what has come before: occasionally… actually, mostly, I just want to watch a film.

Many months ago I saw the trailer for a film called Last Night in Soho, and I was pretty darn excited. First, written (along with Krystal Wilson-Cairns) and directed by Edgar Wright, whose Cornetto Trilogy rates pretty high in my favourite films (I know what I said about franchises but these are three separate films that have an ice cream as a common thread), and Scott Pilgrim Vs The World, which is easily one of my favourite comic adaptations. That’s not to go without talking about his doco about the pop band The Sparks, which is a fascinating watch, especially for music lovers. Also, one of the stars of the film is my lockdown crush, Anya Taylor-Joy, who easily gave the most accurate portrayal of a Marvel character playing Magik, in The X-men spin-off The New Mutants, played Beth Harmon in the amazing The Queen’s Gambit on Netflix (I love both Walter Tevis’ writing and am an avid chess player, even though I suck at it) and was in the beautiful The VVitch: A New-England Folktale, as Thomasin.

Thomasin McKenzie as Ellie

Last Night in Soho tells of Eloise ‘Ellie’ Turner (Thomasin McKenzie), a young, aspiring fashion designer from country Cornwall who is accepted to go to a big fashion school in London. After a disastrous first night in the college’s dormitories with her room-mate, the unpleasant Jocasta (Synnøve Karlson), Ellie decides to rent an off-campus bedsit from Mrs Collins (Diana Rigg).

There’s something a little ‘special’ about Ellie though; she’s a touch ‘sensitive’… in the psychic way, like her mother was before she committed suicide… and every night when she goes to bed, she has time travelling flights-of-fancy where she finds herself transported into the body of Sandie (Anya Taylor-Joy), an aspiring actress who engages her career with the seemingly nice and suave Jack (Matt Smith), but Jack may be a lot less than what he seems, and Ellie starts to both ‘become’ Sandie, but also in intrigued by what happened to her, which surely must have been murder considering the sad path she was going down…

Ellie’s vision start intruding into her real life until she can barely tell them apart, but who can she turn to as her life rapidly seems to be crumbling, who is the strange older man (Terrance Stamp) that seems to be following her and how can her fashion education, and fledgling romance with John (Michael Ajao) …

Anya Taylor-Joy as Sandie

I have to say I am totally in love with this film. It’s very much a giallo but told through modern eyes and technology, the cinematography and acting really are outstanding, the special effects are wonderful and all the tricks, both in and out of camera, will really make you wonder how it was done, and the soundtrack speaks to me like very few have before.

I honestly can’t recommend this movie enough. It appeals to my love of giallo, it’s visuals appeal to my love of 60s cinema, it’s an Edgar Wright film and it stars a whole bunch of actors that I really like, and a current crush.

Score: *****

The menu screen for the Australian Bluray release

Extras: A decent bunch of extras about the film that I actually think could have been edited together into a wonderful

Meet Eloise looks at the character and casting of the character of Eloise in the film. Wright, Wilson-Cairns, McKenzie, Taylor-Joy and other members of the cast and crew all discuss the creation of the character.

Dreaming of Sandie explores the creation of Sandie’s character, from Wright’s and Wilson-Cairn’s original idea down to the execution by Taylor-Joy.

Smoke and Mirrors takes us into the shifting between the 60s and now and how effects were used to execute the look of both eras and their intrusion into each other’s worlds.

On The Streets of Soho sees the actual Soho in London become a character in the film, and how the writing and direction did that.

Time Travelling enters the sixties via fashion and music which really makes the time travelling sequences quite exciting.

There are 6 Deleted Scenes, which I don’t miss in the film at all. There is one sad bit of romance that I believe the movie missed out not having in it.

Animatics show animated storyboards of four sequences.

Extras shows some pretty cool behind the scenes stuff, like hair and make-up tests and some trial camera shots. Interesting for those with a fascination for filmmaking.

‘Downtown’ Music Video sees Taylor-Joy perform a cover of the classic song originally performed by Petula Clark.

Trailers has a domestic and an international trailer for the film, both which are quite different.

There is also a commentary with Wright, editor Paul Machliss and composer Steve Price which is animated and fascinating and completely worth while listening to even if you aren’t a commentary listener.

Score: ****

WISIA: Oh yes, this will be watched again. Regularly.

Matt Smith as Jack

The New Mutants (2020)

The New Mutants (2020)

Film: A strange thing happened to the 13 year old me in 1983… no, not pubic hair and the realisation that boobs are amazing… no, I became a ‘proper’ comic collector. I had been collecting comics for almost a decade at this point, but comics were something I rolled up and shoved in my pocket, and carried around in cardboard boxes with little regard for comic company, numbering or continuing stories.

I just liked the pictures with the words.

In 1983, though, I picked up something special whilst at the local news agency with my mum, who was doing her lotto: the first issue of a comic which would change my life, The New Mutants.

The New Mutants told of teens, some the same age as me, who upon hitting puberty, discovered that hidden in their DNA was a horrible secret/ curse of special abilities that if untethered, could accidentally kill others. Thankfully, they were taken on by the kindly teacher Professor Charles Xavier, who at his private school would just teach them and protect them, would also train them to use their powers, but unlike his other team, the missing (at the time) X-men, he wouldn’t allow them to become ‘super heroes’… but they are strong-willed teens, so obviously THAT wasn’t going to happen!

Imagine my excitement, then, when it was announced that 20th Century Fox was going to make a HORROR film based on my favourite comic of all time! Imagine my disappointment at the constant delays, some COVID-related, and some due to the Disney buy-out of Fox, and other because it was getting some bad press, even though no one had actually seen it.

The New Mutants FINALLY got a release in late 2020, where it was unceremoniously dumped… even though it was part of the successful but floundering (well, except for Deadpool and the magnificent Logan) X-men series… to DVD and Bluray (in the companies defence, it was right during COVID lockdowns and few, if any, cinemas were actually open). Tragically you can tell it was dumped by the fact that bother the symbols for Marvel, and it’s parent company Disney, and not mentioned on the front of the packaging, and are a tiny part of the back cover, which is a resounding ‘we are embarrassed by this movie’.

At the risk of spoiling the rest of the review, they are wrong.

This film was directed by Josh Boone, the director of teen drama The Fault in our Stars, who had envisioned it to be the first in a trilogy, which is now obviously abandoned, and was based on a script by him and Bad Grandpa’s Knate Lee… please don’t let those credentials scare you off… and is based loosely on the comics Demon Bear Saga, written by Chris Claremont, with art from Bob McLeod and Bill Sienkiewicz.

The New Mutants tells of Dani Moonstar (Blu Hunt), a teenage girl who has been admitted to a hospital after a tornado destroys her community, and her father is killed by… something…

At this institute, she discovers that the doctor in charge, Dr. Celia Reyes (Alice Braga) intends on keeping her there until she understands and can learn to control her mutant powers of being able to make people’s worst nightmares come to life.

Maisie Williams and Blu Hunt

Dr. Reyes already has a group of kids at the institute though: the quiet, but lycanthropic Rahne (Maisie Williams), the Brazilian hothead, Roberto (Henry Zaga), southern boy Sam (Charlie Heaton) and Uber-bitch, is-she-actually-a-demon Illyana (Anya Taylor-Joy), and quickly, Dani discovers that she is being held with these others, in a cage if sorts.

The problem with cages, though, is sometimes they keep what’s outside, outside, but they also trap everything inside, perhaps even whatever it was that killed Dani’s rather… and with 5 super powered and erratic teens, that could be a dangerous mix!

Roberto’s girlfriend is a hottie!

Now this film isn’t your traditional ‘Bang! Pow!’ Superhero movie, oh no. This takes all that bluster and works it down to something that you saw in some of the X-men films, especially with the horrors of Rogue’s (Anna Paquin) powers which caused he to be unable to touch the skin of another human being: getting your powers for the first time would be horrible. Mix with that the difficulties of puberty and a bit of sexual chemistry and you have an absolute cracker of a movie.

It reads very much like a super powered, horror version of The Breakfast Club, and honestly this probably does tap into my love of that John Hughes film, with maybe a little of A Nightmare on Elm St 3: The Dream Warriors thrown in for good measure.

The cast, for me, are an absolute dream. Maisie Williams, hot off her time as Anya in Game of Thrones, Charlie Heaton, the creepy hot guy from Stranger Things and Anya Taylor-Joy, my current obsession, and star of The VVitch and hit Netflix series The Queen’s Gambit. In a weird piece of chance, and I guess it’s what a good casting person does, the cast somehow both fit, and don’t.

The story is a great introduction to these characters, and choosing to make this film with horror and teen elements is just as clever as making Deadpool a full-tilt comedy. It was supposed to be the first part of a trilogy and it’s a shame we’ll miss out on that as this film quite heavily leans into a future appearances of X-men baddie, Mr. Sinister.

Just because this film was dumped by Disney, please don’t assume it’s anything bad. It’s great!

Score: ****

Format: This movie was reviewed on the Australian release, region B Bluray copy of the film. The 1.85:1 image and 7.1 DTS-HD Master Audio track are fabulous.

Score: *****

Extras: There’s a bunch of extras on this Bluray:

There are 7 deleted scenes which the movie really doesn’t miss at all.

Origins and Influences sees Boone, Lee and Sienkiewicz talk about the New Mutants comic. For me this is an unusual featurettes as Boone and Lee talk about how much they loved the New Mutants comic but it started off as a usual superhero comic, which for me, it definitely did not. Towards the end, it became boring and generic, but at first it was a proper school for people learning to control their abilities. I do appreciate it did become something unique when Sienkiewicz could really unleash his art style into it.

Meet the New Mutants introduces us to the cast and the characters they play.

Audio commentary with Boone and Sienkiewicz is really fascinating. To hear two storytellers from different areas of creative storytelling coming together and discussing a project they both worked on in different media. It’s so refreshing to see a comic creative get such a voice in a commentary. Normally in most superhero movies, a tiny bit of lip service is paid to the source material, or poor Stan Lee was forced to tell one of his oft-told tales again, but this really feels like a tribute to the comic. Fantastic.

There’s also the teaser and theatrical trailer.

Score: ****

WISIA: Oh boy, it’s so good it’ll get regularly rewatched!

Anya Taylor-Jot is Magikal