Untitled Edgar Wright Project (\N)

An aspiring fashion designer is mysteriously able to enter the 1960s where she encounters a dazzling wannabe singer. But the glamour is not all it appears to be and the dreams of the past start to crack and splinter into something da
  • 7.2 /10.0 IMDB Rating:
  • DatePublished:
  • 2019-01-24 Added:
  • Krysty Wilson-Cairns, Writer:
  • Edgar Wright, Director:
  • Producer:

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Trailer:

9 / 10

Old school

Edgar Wright seems to polarize with this movie. Although generally speaking the majority seem to love this as much as I did. Or in similar fashion - no pun intended. And for a genre movie it starts off ... well off (weird). You don't get a shocker, quite the opposite it starts off with a music number/dancing. Which makes sense when you think about it in hindsight and still sets a tone for the viewer - even if not one that is as menacing as the movie becomes later on.

Technically speaking the movie is impeccable. Anyone arguing differently surely has not seen far lesser movies produced than this and is probably blinded by the fact they don't like the movie. Which is more than fine, just don't let your dislike turn into a general bashing. One does not have to like a movie that is well made. We have different tastes and that is a good thing.

There are things that depending on how you view things, may feel like flaws or things the movie did not get right. Like the moral ambiguity or the love interest. The latter may feel a bit one dimensional, but ask yourself this: how many female love interests have been played or rather written the exact same way? So this is nothing unusual - unless you count the gender swap for who is playing the gullible and way too nice person to be real ... having said that, again that may not be enough to sway you to like the movie or the characters.

And the moral issues the movie displays including an ending that some may not be entirely left satisfied with (character choices and so much more) - with many unanswered questions ... on the other hand, some things are better left without an answer, so we as viewers can fill in the blanks.

Stylish and probably with quite a few in-camera effects (I imagine certain tricks were used to avoid a higher special effects cost, but I may be wrong), this movie has a few exquisite jump scares and a really good story as a backbone. Oh and before I forget, a great cast. It has been ages since I last saw Terence Stamp on the big screen ... Covid aside of course.

Anyway, really good genre movie by a director who knows what he wants - for an audience who mostly seems to appreciate it.

7 / 10

Gently bubbling, sophisticated, horror film...

The time-shift nature of the narrative, supported well by the changes in fashion styling, an excellent soundtrack of strong vocals and a really top-notch effort from Anya Taylor-Joy as "Sandie" really make this quite compelling at times. When "Eloise" (Thomasin McKenzie) takes an attic room in the house of Dame Diana Rigg, all goes well until she starts to become subsumed into the life of an alter-ego "Sandie" - a girl who came to London's Soho in the 1960s, full of pipe dreams to be a successful singer. She alighted on the sleazy "Jack" (Matt Smith) who promised her the world - but soon she was just another plaything for old men... Initially convinced these are just dreams, soon "Eloise" and her would-be-beau from fashion school "John" (Michael Ajao) are trying to get to the bottom of what really happened... As horror films go, it has plenty to keep it interesting. There are a few jump moments as the film progresses, but mostly it is the hugely creative style of the visuals that build the sense of menace. The twin-dimensional aspects of the plot gradually marrying together as their two environments begin to encroach more on each other. I can't say I liked the ending, it was all just a bit too convenient and for me, at any rate, predictable. The interventions from Terence Stamp were unnecessarily misleading, I felt - and not in an interestingly red-herring sort of fashion, which I thought was a little bit of a shame. Still, though, this is a great looking, well paced and engaging test for the nerves that showcased some good acting talent that I did rather enjoy.

8 / 10

Enrapturing

This movie had me hooked from the beginning. The vibe of the neon, eerily upbeat 60s music, and intense cinematography, is unmatched. Acting was decent and the storyline unpredictable (at least to me). A well made movie that haunts, not scares.

8 / 10

where the neon signs are pretty

Greetings again from the darkness. Every once in a while a movie captures that magic feeling of being swept away, and this wild film from writer-director Edgar Wright and co-writer Kristy Wilson-Cairns (1917) did just that for me. This is my kind of psychological-horror-thriller and with the exception of one sequence that went a bit too "slasher" for my tastes, I had a blast watching it. I'll admit that, while also acknowledging more people will probably not enjoy this, than will. But for those who do, I feel confident they will share my enthusiasm.

Eloise (Thomasin McKenzie, JOJO RABBIT, 2019) opens the film by expressively dancing to Peter & Gordon's "A World Without Love" while sporting a self-designed dress made of perfectly creased newspaper. Her room is filled with 1960's colors and memorabilia and we soon learn she's an orphan raised by her grandmother (Rita Tushingham, A TASTE OF HONEY, 1961). Eloise, or Ellie as she's called, dreams of following her mother's path to London, and is thrilled beyond measure when her acceptance letter arrives from the London School of Fashion. Ellie does carry the burden (and visions) of her mother's mental illness, and her grandmother warns, "London can be a lot."Small town (Cornwall) Ellie with her timidity and wide-eyed innocence arrives in London and is immediately the target of 'mean girl' and fellow student Jocasta (Synnove Karlsen). Rather than subject herself to the abuse, Ellie sublets an attic room from an old lady landlord named Mrs. Collins (the last screen appearance for the great Diana Rigg). Ellie loves the room and her independence, but her dreams act as a portal back to those swinging 60's of which she's so fond. But that's only the beginning. It's here where she follows/becomes Sandie (Anya Taylor-Joy), and the mirror effects are truly other-worldly. Sandie is everything that Ellie wishes she was herself - confident, radiant, ambitious, and beautiful. This dream state allows Ellie to live vicariously through Sandie. At least initially.

The Ellie-Sandie sequences mess with your head in a wonderful way. Sandie seems to float across the club's dance floor, and Ellie is mesmerized at first, before turning protective. The tone shifts when Sandie meets sleazy Jack (Matt Smith), a would-be agent who promises to get Sandie the shot at stardom she desires. This leads to ATJ's amazing and breathy version of Petula Clark's "Downtown". It's a standalone highlight of the film, and a moment that shifts the story yet again. If you are struggling to keep pace, you're not alone.

Soho's glamour is matched only by its grunge. The recurring dreams turn to nightmares, so that even Ellie's waking hours are surreal. A mysterious elderly gent played by Terence Stamp may be the key to the mystery Ellie's so busy trying to solve that she is oblivious to the romantic overtures by nice guy John (Michael Ajao). The nostalgia of the 60's provides a visual treat with the Café de Paris, a massive theater marquee advertising James Bond's THUNDERBALL, and Cilla Black's "You're My World".

Filmmaker Wright gives us so much to discuss, but it's crucial that the best parts not be spoiled. Just know that Oscar winner Steven Price (GRAVITY, 2013) provides an incredible mix of music, while Chung-Hoon Chung's cinematography, Marcus Rowland's Production Design, and Odile Dicks-Mireaux's costumes all nearly steal the show. But of course, that can't possibly happen thanks to the stupendous performances from Anya Taylor-Joy and (especially) Thomasin McKenzie. These are two of the finest young actors working today, and we will be fortunate to watch their careers develop.

Edgar Wright is having quite a year. He's already delivered the terrific documentary, THE SPARKS BROTHERS, and now comes what is his best work yet. You may know his work on BABY DRIVER (2017) or the Three Flavours Cornetto trilogy that kicked off with SHAUN OF THE DEAD (2004). Here, he playfully bounces between genres serving up time travel, a murder mystery, the Soho history, a memorable soundtrack, surreal dream and ghost sequences, a touch of romance, and that previously mentioned 'slasher' scene. A final tip of the cap to Diana Rigg, whose career spanned her role as Emma Peel in "The Avengers" (from the 60's), her time as a Bond girl in ON HER MAJESTY'S SECRET SERVICE (1969), and ultimately as Olenna Tyrell in "Game of Thrones".

Opens in theaters on October 29, 2021.

7 / 10

me likey

This is my kind of movie. Very interesting, cool and different. An artistic visual style with good music. Dark in all the right ways. Great performances, especially by thomasin mckenzie. Whatever schtick she was doing was so adorable, made it easy to get emotionally invested in her character.

It's not perfect movie, but i really enjoyed it and look forward to watching it again. (1 viewing, 11/1/2021)