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Last Night in Soho Reaction! (Patreon)

Published:
2024-06-26 16:30:12
Imported:
2026-06
Tags:

Files

Last Night in Soho (2021) - Sesskasays

Download Edit (4.3 GB) Edited Reaction Alongside the regular multi-part full, you now have the option of watching an edited version of the full movie reaction with 10-15mins of Picture-in-Picture. You can watch this edit

Comments

Thomas Corp

I’m glad you finally got to see and enjoy this. Before seeing it, I also kept myself largely in the dark about specifics beyond Edgar Wright directing, it’s being horror and/or thriller, and some of the cast, such as Matt Smith who him alone is enough for you, like you said. The whole thing is very Argento inspired, with shades of Bava and Roeg, which was great. Thomasin McKenzie is proving herself quite the rising star. Likewise, Anya Taylor-Joy is again showcasing how she’s one to keep your eye on. Of course, of the cast, we have the legendary Terrence Stamp, I’ll take him in anything. And in what’s her final film, the equally legendary Diana Rigg. Also, Margaret Nolan in her last film as well. Figured you’d have the reactions you did with the roommate and the other horrid college kids. I’d say I relate, but I missed out on all of that as my brief college experience was in community college; I never went away to college. Even so, past, say her second scene, my comment on the roommate was, “Fuck this bitch.” When you kept saying how people suck, my dry response kept being, “That’s news?” I did also have an instinctual “All right, fuck you.” to the guy who swiped the headphones and referred to Eloise’s taste in music as “granny shit.” I love how the film plays with the actors’ types. To wit: You know that for older viewers/viewers familiar with Terrence’s work that the film is counting on the fact that every second you see Terrence on screen, that you hear loud and clear in your head, “Come to me, son of Jor-El! KNEEL BEFORE ZOD!!” and how his character asks if he scares Eloise, your answer in the affirmative was great, I deadpanned at that part, “Well, Sir, you ARE General Zod.” As you note, though, Lindsey went about things in a creepy way. Such is the way of things: You get typecast as villains and you’re stuck being seen as creepy as SHIT. Which he was, I mean, Terrence is intimidating as all hell. Somewhat related to that, it’s neat how the film lures you in with Matt’s character as he is played by Matt, Eleven, your honey, before the red flags start red flagging with Honey-bear, revealing what a dirty rotten bastard he really is. Sort of like how we had Arthur Darvill in The Sandman, who you referred to as Love-bug, then as the episode progressed, you stated that alas, he was not serving love-bug energy there. Same thing here, and it was a great part of the reaction when you caught that Matt wasn’t giving off honey vibes early on, which you delightfully gave voice to. Honey was NOT honeying, like you said. The really depressing thing is the character Matt plays here STILL seems nowhere near as monstrous as Daemon. Good notes on the parallels between his character and John. Speaking of, I KNEW you’d LIVE for John. All the praise in the world to Michael Ajao for his performance. The young man is a goddamn sweetheart. Watching to prepare for the reaction, every one of his scenes I kept thinking, “Goddman it, is Jess going to love this fine young gentleman.” You say that you don’t feel that the entire world deserves John, frankly I’m inclined to agree with you on that one. I would have a similar kind of response that John had which is even if you do or do not fully believe what Eloise says, you’re choosing to believe her as a way to offer support and help as you sense that’s really what she needs above all else. I anticipated your reaction to his getting stabbed, and subsequently, the “Oh, thank God.” feeling upon seeing he was ok at the end. There are the bits and pieces you get which indicate that Eloise has some psychic abilities, and it taps into the trauma of the past in the house, though I like they never explicitly spell it out for us, and it’s vague enough to allow us to interpret things in various ways. I continue to love how sharp you are, Jess. For instance, how you clocked the “women only” part of the advert for the room and should you have been concerned about that. In this case, yes, but if I understand things correctly, there are places that have a similar rule without the murder element, so it’s not strictly speaking the most unusual thing in the world, though it is an early sign of things for the story. Bringing us to a mild criticism of the film, and even then, it doesn’t ruin the film any, that it was somewhat easy to predict two of the central surprises regarding the twist at the end. I imagine that there was a belief that the twenty-somethings and younger would not be familiar with Terrence and Diana in their younger years. But I know them well. As soon as we start seeing Anya with her relatively passing resemblance to Diana back in her heyday, combined with the common narrative trope of an actor is too notable to be playing a seemingly minor character, it started to piece together that she and Diana were the same character. Similarly, the second I see Terrence’s character as a younger man, the resemblance is instantly clocked. There is still a full picture to be discovered, and you have confidence that Edgar Wright will deliver and make it an entertaining experience, even if you’ve already deduced key pieces of the puzzle. And indeed, it is an entertaining experience, and I like how you entertained the one idea without digging into it. And as is always the case, I love how you’re always just going along for the ride and are letting the story unfold. It always makes your reactions really special, Jess. Plus, I love how you and I caught the name on the letter, leading that terrific moment of the reaction. Sandie was a bit of a tough old bird too, which is unsurprising as we are talking about Emma Peel after all. There probably were men like John who were not monsters like Jack that got killed. It’s a bit murky about that, and if so, it would be indication that sympathetic though her motive is, she’s become a villain. It got me a little in the end how she has that moment of clarity, she cuts her throat and sits and waits for the flames to consume her. Leaving us with the last we see of Diana, at least in film, and it brings tears to the eyes. And she wasn’t in any hurry, you see, she had all the time in the world. I find it amusing how you expected more Matt than you got, and how you are like me when one of my favorite actors or actresses are in something: They can show up for all of ten seconds, and I’ll be here for it. So, this was a lovely time sharing this film with you, Jess, thank you.

Ryan

I'm a big fan of '70s giallo movies, so seeing a master craftsman like Edgar Wright create such a loving tribute to them was a blast. The use of color throughout the whole film is just mesmerizing, with the neon lights alternately washing the entire frame in red or blue, and this bleeding through into the '60s sequences so well. The tricks he pulls off with mirrors are also pretty jaw-dropping, and actually got me to repeatedly say that phrase that's all too rare these days: How did they do that? And it's sadly more surprising than it should be to see a male director, whose previous films tackled some very machismo subjects, create such an unapologetically feminist film, including the awesome meta casting of Diana Rigg in a role that directly plays into how famously uncomfortable she was with how her image was sexualized in the '60s (even if her spending so much time around a fashion designer had me occasionally thinking "So when does Miss Piggy show up?"). She and Anya Taylor-Joy together create an indelible figure, given complete support by Matt Smith letting himself completely disappear into such a despicable role (I've noticed that ever since leaving Doctor Who, he does seem to gravitate more to roles like this, with even his Prince Phillip having a serious dark side). And it's a very good thing the movie has all that going for it, because boy does this script have serious issues that prevent me from embracing it like I was hoping to. Mostly it's all centered around Wright feeling the need to have a pair of third act twists when I'm pretty sure a movie this stylish could have done perfectly well without them. Every time Terence Stamp shows up you can feel the gears turning to get us to think he's an old Jack, until it would actually be more of a surprise if he really was. And then the movie doesn't even bother coming up with an excuse for why he was being such a creep, outside the Doylist one that Ellie needed a reason to think he was Jack. Rather more damaging is the whole scene with the cops that ends up seriously undermining the movie's message, where we're supposed to think the male cop is being a sexist pig for refusing to take Ellie seriously, even though he ends up being completely right that the murder she's reporting didn't actually happen (and even if it had, I certainly hope even the most reasonable guy in the world would need a little more than "I had a psychic vision about this"). And I'm just plain confused about why Jocasta keeps popping up after she's served her plot purpose in driving Ellie out of living at the school, only to never get any comeuppance. Apparently the original cut showed that she was friends with Ellie at the end, to which test audiences very understandably complained that it was totally unearned, so they simply removed her bit from the ending without changing anything else despite her whole role now leading nowhere, the worst case of it since Alfrid in the third Hobbit movie. This ends up being a movie I respect more than I actually like it, but the stuff it does good is VERY good, and that's what I choose to remember about it.

Lucas

Such a great film, glad you were finally able to watch it! Like you I only knew two things about this going into it: Matt Smith is in it and Edgar Wright directed it. So I was very surprised that it wasn't more comedic and that Matt Smith wasn't as present throughout the film. You can still see Wright's directing style all over this even though it isn't a comedy which I absolutely love; can't believe it's been 3 years and we don't know when his next film is coming out. Super underrated film, so I'm glad you got to react to this :D

Thomas Corp
>>142247041

Just checked the link, myself. It follows through with no problem, so Jess should be able to see it. Edgar Wright sure is an ambitious sort. I like it.

Vanessa J McNamara
>>142093770

I often find Matt Smith is woefully underrated and under-utilised. Still I enjoyed it. Some people have a problem with the end and think it was predictable. Honestly, I had no idea