Last Night in Soho

Britain’s versatile Edgar Wright is the writer/director behind such enjoyable comedies as Shaun of the Dead, The World’s End and Hot Fuzz, as well as thrillers like Baby Driver. But none of these prepared me for this immersive, genre-hopping, stylish, neon-colored yet very dark phantasmagoria.

In his most mature effort to date, Wright pulls out all the stops as he gleefully morphs his movie from time travel to horror to mystery to ghost story. You will not know where this movie is going. That’s a good thing.

The story centers on Elouise (Thomasin McKenzie), a young, slightly mousy fashion design student who we are shown possesses mild psychic tendencies. She is somehow able to travel back to jumping 1960s London, where she views this awesome world through the eyes of an aspiring singer named Sandie (Anya Taylor-Joy), who is confident, sexy and very hip.

This is an immersive, thoroughly enjoyable, dark fantasy. It’s not perfect; the second hour doesn’t quite match the wonder of the first, and some bits might be more over-the-top than desired, but it’s never dull. It’s good to see Wright is still growing, and I can’t wait to see what he comes up with next.

Terrence Stamp, who has never made a bad movie, has a role, as does Rita Tushingham, and it is the late, great Diana Rigg’s final movie appearance. Hell, it’s worth seeing solely for Chung-hoon Chung’s gorgeous cinematography. Big screen, please. (116 min)