Last Night In Soho: Time-hopping psychological thriller transports us to the underbelly of London’s Soho in the 1960s

LAST NIGHT IN SOHO

(18) 116mins

★★★☆☆

THE dark underbelly of London’s Soho in the 1960s is where British writer-director Edgar Wright (Shaun Of The Dead, Baby Driver) transports us this Halloween in his time-hopping psychological thriller. 

When Swinging Sixties obsessive Eloise Turner (Thomasin McKenzie) wins a place at the London College of Fashion, her gran (Rita Tushingham) warns her knowingly that the capital “can be a lot”. 

Raising Ellie in Cornwall since her daughter — Ellie’s mum — killed herself, she knows the wide-eyed and possibly psychic granddaughter is fragile 

Once in the Big Smoke, Ellie is the proverbial country bumpkin among her “mean-girl” roommates.

She wears homemade dresses, drinks cola and listens to Dusty Springfield and Petula Clark. They snort cocaine, down shots and bitch about her in the loo.

Overwhelmed, Ellie then flees student accommodation and rents a creaky-floored attic bedsit from old-fashioned landlady Miss Collins — the late Diana Rigg, who is superb in her final role and to whom this film is dedicated. 

At night, under these eerie eaves, Ellie discovers she can travel back to the Sixties, hidden behind mirrors as the unseen observer of wannabe starlet Sandie (a captivating Anya Taylor-Joy). 

Is it her vivid imagination or a paranormal experience? Either way, Cilla Black sings on stage at the Café de Paris, Bond adventure Thunderball is showing in Leicester Square and all eyes are on Sandie — including Ellie’s — as handsome Jack (Matt Smith) whisks her on to the dancefloor. 

In the present day, Ellie idolises confident Sandie, adopting her haircut, habits and style. But the nocturnal adventures gradually become more terrifying as the latter’s life takes sinister, seedier turns. From longing to shadow Sandie, now Ellie can’t escape her. Ghosts of Soho past, including silver-haired Handsy (Terence Stamp), constantly haunt her in modern life.

 Some even take on Zombie form to terrorise her as the truth about what happened to Sandie is revealed. 

With an enjoyable mix of whodunnit, Hitchcock-esque horror and supernatural slasher shocks, tension and frights run high, the cast are all punching and the glossy Sixties segments are dazzling. 

Bold and fun

Unfortunately, the contemporary scenes feel unloved in comparison and the supporting characters — especially Michael Ajao as Ellie’s suitor John — deserve more attention. 

It’s inconsistent and unbalanced but still stylish, bold and fun. 

And for those craving scares, it is definitely unsettling enough to make you sleep with the light on. 

ANTLERS

(15) 99mins

★★★☆☆

Guillermo del Toro co-produces this supernatural horror story steeped in Native American folklore with, at times, chilling effect.

Schoolteacher Julia Meadows (Keri Russell) has recently returned to her small town in Oregon after 20 years away. 

When young student Lucas Weaver (Jeremy T. Thomas) shows signs of neglect and abuse she enlists the help of her brother Paul (Jesse Plemons), the local sheriff, to investigate. 

They soon discover Lucas is hiding a deadly creature inside his home.

Adapted by director Scott Cooper, Henry Chaisson and Nick Antosca, from the latter’s own short story The Quiet Boy, the film is a dark and dank slow burner that takes itself very seriously. 

Thomas delivers an endearing performance as a vulnerable boy forced to grow up too fast. Neither Russell nor Plemons, however, command as much presence, especially with an awkwardly handled sub-plot intended to connect with the wider theme of familial abuse. Given the indigenous folklore it uses, native Canadian actor Graham Greene could have had more to do as the town’s former sheriff. But the gnarly realisation of the mythic beast is admirable and has del Toro’s freaky stamp all over it. 

QUANT

(12A) 87mins

★★★★☆

THE 1960s are in full swing and this documentary shines a light on the style queen of the era – Dame Mary Quant, the miniskirt designer who led a fashion revolution.

The film is not just a trip down memory lane. It is a love letter to a true national treasure who loved to ruffle feathers and continues to shape our lives today.

In the hands of actress Sadie Frost, making her directorial debut, Mary’s life story is stitched together. The 91-year-old now lives in a country pile in Surrey but we only hear from her via splendidly grainy archive footage, sometimes with her late husband Alexander.

Frost has pulled in showbiz pals including make-up artist Charlotte Tilbury, The Kinks guitarist Dave Davies and British Vogue editor Edward Enninful to help. Kate Moss and Vivienne Westwood are in the mix via archive material, which feels a little shoe-horned and flimsy. Dramatised scenes (Camilla Rutherford plays Quant) fill in some colour.

The good stuff comes from Mary’s godson Jasper Conran, like her a fashion designer. He discusses his childhood memories of Sunday roasts at Mary’s home, and her influence on women’s liberation – and he declares her to be “the most important British designer ever.” She definitely made more than a mini impact.