What You Need To Know: If Edgar Wright’s kinetic, bullet-riddled live-action jukebox stunt “Baby Driver” saw the director riffing on the cinema of Walter Hill and Michael Mann in his own inimitable key (and somehow managing to turn Ansel Elgort into an action-movie star), then “Last Night in Soho” will see the British director tipping his proverbial caps to milestones like Nicolas Roeg’s “Don’t Look Now” and Roman Polanski’s “Repulsion.” Not much is known about the plot particulars at this time, except that the film will reportedly involve an element of time travel that sees at least one of the characters being transported back to the freewheeling London of the ’60s, but we are certainly tickled by the prospect of this ingenious director working in a more potentially wicked register. Wright’s film was supposed to come out last fall, but, due to the pandemic, got delayed to 2021. I like Wright’s movies, for the most part, his camera always fluid, his shots always perfectly placed, but sometimes he has a knack for being a little too silly and overreaching with his stories. That’s fine, I’d rather have ambition than someone taking no risks at all– he’s also only growing as a filmmaker, I can see his filmography going up in quality as he matures in age. It’s a given with Wright, or any director really, that you learn from your past errors. His last film “Baby Driver” featured some of the very best set-pieces of his career, it helped that he consulted with “Mad Max: Fury Road” maestro George Miller for help in how to pull off some of those complicated car chase sequences, with the full intent of using practical effects. In ‘Soho’ he seems to be going for a Giallo feel in his frames — how can you not think of Dario Argento when watching the below just-released teaser: Contribute Hire me
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