We analyze in Cinemascomics the Steelbook of the 4K Ultra HD + Blu-Ray of Last Night in SohoEdgar Wright’s hypnotic psychological thriller.
We at Cinemascomics have reviewed the home edition of the 4K Ultra HD + Blu-Ray Steelbook from Last Night in Soho (Worldwide, 2021). The new film from the director of Baby Driver and the Cornetto Trilogy is now available for home cinema lovers, in formats for all tastes and with more than 100 minutes of extras, personally supervised by the director and co-writer himself.
To the DVD, Blu-ray and 4K UHD editions of Last Night in Soho that Arvi Licensing has already put up for sale is joined by a limited 4K UHD + Blu-ray Steelbook with an impressive and careful design, which can be purchased at the usual points of sale, both physical and online, while stocks last, being an edition In an irresistible metal box for any fan of collecting in general and of this psychological horror thriller in particular.
The 4K Ultra HD + Blu-Ray Steelbook from Last Night in Soho includes essential additional content to delve into this original film by Edgar Wright, where the experienced filmmaker abandons his favorite genre, comedy, to try the suspense genre with supernatural overtones, where its prodigious protagonists, Anya Taylor-Joy (Emma .) and Thomasin McKenzie (Time).
Along with the great quality and quantity of the extras (over 100 minutes on Blu-ray and 4K), we also have a spectacular Dolby Atmos that enhances the sound design of the film, and this is joined by the latest in 4K technology. , with HDR 10+. The film was nominated for Best British Film of the Year and Best Sound at the BAFTAs, as well as the Fanheart3 Awards at the Venice Film Festival.
Eloise (Thomasin McKenzie) is a young woman who gets a scholarship to enter a prestigious fashion design school in London, the city of her dreams. When Eloise discovers that she can go back to the sixties while she sleeps, she meets Sandie (Anya Taylor-Joy), a stunning aspiring singer. But she will soon discover that what she dreams of really happened and that the glamor is actually a deceptive façade. As she digs deeper into Sandie’s past, she will see the dreams of the past crumble into something much darker.
In addition to sitting in the director’s chair, Edgar Wright is also in charge of writing this disturbing script with Krysty Wilson-Cairns, who was nominated for the Oscar for Best Screenplay with Sam Mendes for 1917. The film is produced by Nira Park, Tim Bevan, Eric Fellner and Edgar Wright, with James Biddle, Rachel Prior, Daniel Battsek and Ollie Madden serving as executive producers.
In addition to the leading duo, the film also includes Matt Smith (Morbius), Michael Ajao (Attack the Block) and, in a nod to the 1960s, Terence Stamp (Miss Peregrine’s Home for Peculiar Children), Rita Tushingham ( The Owners: The Owners) and the recently deceased Diana Riggs (Game of Thrones).
Last Night in Soho is shown in its metal case version brimming with extras, which we’ve reviewed for Cinemascomics readers. The analysis is completely free of spoilers, in case you haven’t had a chance to see it yet and want to know what extras it contains.
- Audio in English Dolby Atmos; Spanish, French and Italian Dolby Digital Plus 7.1.
- Subtitles in Spanish, English for the deaf, Dutch, French, Greek, Italian and Portuguese.
- HD movie, wide screen (2.39:1).
- Audio in English Dolby Atmos; Spanish, French and Italian Dolby Digital Plus 7.1; Czech Dolby Digital 5.1.
- Subtitles in Spanish, English for the deaf, Cantonese, complex Mandarin, Czech, Danish, Dutch, Finnish, French, Italian, Korean, Norwegian, Swedish and Thai.
- Movie in ultra high definition, wide screen (2.39:1).
- Duration: 112 minutes approximately.
- Rating: Not recommended for children under 16 years of age.
This is Eloise:
Audiences should empathize with Eloise in the film, says co-writer Krysty Wilson-Cairns, because she’s young, raised in the countryside, and has dreams and ambitions, but doesn’t know who she is yet. She longs to live in London, loving the 1960s, but she soon discovers that the city is not as magical as she thought.
For his part, the director, co-writer and producer Edgar Wright expresses that he understands the protagonist, because he too came to London from the outskirts and felt isolated.
Along with this, the leading actress, Thomasin McKenzie comments that she had never made horror films or thrillers, although she has subsequently appeared in Shyamalan’s latest film, Time. The actress resembles Eloise in that they are the same age, she is a welcoming, empathetic and kind person, as well as she had never been to London, so her expression when they shot in many real London locations was authentic. . In addition, they show us the preparation of the actress for the dance choreographies.
The director indicates that they were lucky to shoot at the London College of Fashion, where during the documentation for the film they interviewed fashion students, and highlighted that it was a difficult place to prosper. In turn, they continue talking about the rest of the characters, highlighting Jocasta and Sandie, where Thomasin McKenzie talks about the similarities between Sandie and Eloise. To this, Anya Taylor-Joy talks about her great connection with the protagonist and how she enjoyed shooting hers. Scenes they had together.
Dreaming of Sandie:
Sandie is inspired by many actresses of the 60s who, when they enter the scene, they own the screen, says the director. Ironically, the director told Anya Taylor-Joy about the film even before he had a first draft of it, when he met her in 2015, after seeing her in her debut film, The Witch. Although he initially wanted her for the role of Eloise, when the role of Sandie gained weight in the different versions of the script, the filmmaker saw clearly that it was Anya who should play it.
Regarding her character, Anya Taylor-Joy indicates that Sandie seems very sophisticated and daring, self-confident and easygoing. Also, she explains that Matt Smith is charming, which she appreciates because they had very intense filming scenes. The actor himself describes his character Jack as a man from the city, who wants to be cool and acts violently to get what he wants.
The filmmaker then confesses that he thought Anya could sing, but it wasn’t until they shot the scene where Downtown was singing that he discovered that she had an amazing voice.
Smoke and mirrors:
Edgar Wright comments that when Eloise travels to the 1960s in her dreams, he wanted the film to have a different feel. To achieve this, they controlled the color palette used in the scenes, but also the costumes and scenery. They wanted the ’60s to be an explosion of color.
The director continues indicating that Soho is a more famous area at night than during the day. At night the neon lights stand out. While the visual effects supervisor, Tom Proctor talks about the digital creation process of the faceless men who are chasing Eloise. In turn, the choreographer Jennifer White prepared the movements of these beings. All this without forgetting that the filmmaker insisted that they put on make-up and prostheses, erasing the eyes and mouth, in order to have the make-up actors present on the set. Finally, all the faces were digitally retouched.
On the other hand, the director talks about the fact that there are many mirror sequences in the film. And although there are green screens and they used practical effects, Edgar Wright asserts that viewers would be surprised to discover all the things that were really done, revealing some mysteries of cinema, like a magician revealing his tricks.
On the streets of Soho:
The director confesses that he wanted to set the film in Soho and shoot there. He considers it a neighborhood that has obsessed writers, artists and filmmakers for years. But he felt he wasn’t appearing in movies as much as he should anymore, and it felt weird, considering it to be the center of London, being the part of the city that never sleeps.
It was a very complicated job to be able to shoot there, which was the responsibility of Camilla Stephenson, location manager, because the director hoped to be able to shoot as many exterior scenes as possible. So, shoot in the streets of London for five weeks. But the filmmaker wanted to move away from the more iconic streets and monuments, showing streets less known to tourists, although they also shot on busy streets, such as Oxford Circus, but from different angles.
Another problem they encountered is that there were not many streets and buildings left that kept the style of the 60s. They recreated the Café de Paris in the Haymarket, where they put false doors, lockers and redecorated the nearby shops.
Edgar Wright confesses that the 1960s is a period with which, like many people, he is obsessed, even though he was not born in that era. For the movie, he wrote for the music in a very concrete way, where the script and the song work together.
A decade that composer Steven Price also loves, where they used many vocalists from the sixties, being very melodic and melancholic. In turn, they talk about the pink dress that Sandie wears when we meet her, which had to be perfect, because she had to obsess and inspire Eloise, says Odile Dicks-Mireaux, the costume designer. But we also see Sandie’s descent through what she’s wearing, adds the director.
They go on to explain that the interior of the clubs was built on the film set, in three huge and independent sets. With the Café de Paris, they were based on the real one, but having deteriorated, they sought to represent it in a more stylized and stylish way. Furthermore, the director indicates that he couldn’t resist casting Terence Stamp, Diana Rigg and Rita Tushingham, because they are fantastic actors and links to the past, being icons of the sixties.
Composed of six deleted sequences.
We see the animated storyboards for the scenes ‘First Dream’, ‘The Shadow Men’ ‘Murder’” and ‘Final Showdown’.
They show us the tests of makeup, hairdressing, lighting and visual effects; as well as the rehearsals and alternative shots made during the filming with the steadicam.
Video clip of the theme downtown, played by Anya Taylor-Joy.
- National trailer 1.
- International trailer.
Audio Commentary as the movie plays by Director/Co-Writer Edgar Wright, Editor Paul Machliss, and Composer Steve Price.
Audio commentary during movie playback by Edgar Wright and co-writer Krysty Wilson-Cairns.