Popcorn, fizzy drink, comfy seat, tick. Thomasin McKenzie and Anya Taylor-Joy acting their socks off, tick. Celebrity guest appearance from the late Dame Diana Rigg, tick. Matt Smith not playing an over-enthusiastic Time Lord, tick. London in all it’s 1960s glamour, tick. Nuanced feminist critique of patriarchy…absolutely not (spoilers).
I’ll get straight to it. Ellie moves from Cornwall to London to study fashion and finds it full of pervy taxi drivers and douchey lads at her halls of residence. She finds a bedsit at the top of a creepy old Soho’s townhouse owned by Diana Rigg. Once in the creeky old bed she starts dreaming of Sandie, a young woman aspiring to be a singer in 1960s London. The bond intensifies as Ellie revels in the glamour of Sandie’s swinging life…only to discover that the 60s weren’t so swinging after all and there were also loads of sexist men, including Sandie’s manager Jack, who quickly starts pimping her out. There is one nice guy, an undercover cop who briefly appears to warn Sandie away from her life in sex work. Back in the present day Ellie keeps bumping into a creepy, old guy who she is convinced is Jack. The ghosts of the men who abused Sandie start haunting Ellie and she then has a vision of Jack stabbing Sandie in bed. It’s a sad old story and all too familiar, one of sexual abuse and femicide. However, I was pleasantly surprised that the writer/director of Shaun of the Dead (a zombie movie) and Hot Fuzz (a gory buddy cop movie) had now turned his hand to feminism. That was until the final act.
Plot twist! Jack didn’t kill Sandie, she killed him! And then she killed all the creepy men who wanted to pay her for sex and buried them under the floorboards – turns out their ghosts weren’t trying to spook Ellie but wanted her help in vanquishing the psychopathic Sandie. Double plot twist – Sandie’s still alive and it’s the nice old lady who owns the house, cue Diana Rigg trying to poison Ellie and then chasing her up the stairs with a knife before being kicked in the face and burned to death. So, for a final plot twist Last Night In Soho reveals that there’s a far greater problem than the systemic abuse of women within patriarchy and that problem is…women! Yup, behind every abusive man there’s a promiscuous, mass-murdering woman who likes nothing better than slaughtering men and poisoning young women (when their knife wielding days are behind them). The film does try to redeem Sandie’s killing spree with a “what was a girl supposed to do” sort of explanation from Diana Rigg because #girlpower is serial murder, apparently. Meanwhile, the dodgy old guy at the pub isn’t Jack but Lindsay the undercover cop. However, Ellie only finds this out once she’s chased him out the pub and he’s been run over by a car. I mean, it’s not like she could have just asked him his name!? Honestly, what is a girl to do in a film in which coherent female agency is non-existent. Ah well, at least I enjoyed the popcorn and Anya Taylor-Joy’s epic downtempo rendition of Downtown.