Starring Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Rita Tushingham, Terence Stamp, Diana Rigg

Directed by Edgar Wright

Universal, out now on 4K, Blu-ray, DVD and digital download

 

A modern day fashion student is able to enter the 1960s where she encounters a dazzling wannabe singer, but the glamour is not all it appears to be.

Edgar Wright’s (Baby Driver) psychological horror movie is a love letter to not only London’s Soho of the 1960s but the work of auteurs like Mario Bava, Dario Argento and Roman Polanski. This is no surprise, considering the director’s interests, and he delivers a stunning, shocking two hours, best approached with as little foreknowledge as possible.

Eloise (Thomasin McKenzie, Jojo Rabbit) is the country girl coming in to the big city to make it big as a fashion designer. She has lived with her grandmother (Rita Tushingham) since the passing of her mother, and gran is concerned that London might be a bit much for her. You see, Ellie has a gift whereby she can see her mother in mirror reflections, showing that she is sensitive to psychic phenomena.

After a brief night or two in student digs, Ellie moves into the attic flat of Ms Collins (an excellent Diana Rigg in her final genre role) and starts experiencing the life of singer Sandie (Anya Taylor-Joy, The VVitch) and her relationship with wideboy Jack (Matt Smith, Doctor Who) in the 1960s. Initially it’s all Cilla Black songs and groovy dancing, as Ellie finds herself within the dreams, experiencing the glitz and glamour. But then Soho begins to live up to its seedy reputation and Ellie’s fake nostalgia is washed away.

It’s a stunning film, Wright’s most adult to date, with themes and violence that earn its 18 certificate. All the leads are excellent, Matt Smith particularly enjoying the opportunity to play against type. And Diana Rigg has never been better, someone who lived the London 60s life and could tell us a tale or two. In many ways it feels like an Italian giallo movie, with clues dispensed to us only when the narrative seems fit. Wright’s screenplay with Krysty Wilson-Cairns (1917) is spot-on, though it’s the nightmare visuals that will arguably stay with you once the lights come up.

The home entertainment edition comes with two commentaries, both of which are worth a listen, especially if you’re interested in the musical component of the film, as well as multiple behind the scenes featurettes (many of which are a decent length). Definitely watch the movie before listening to the commentaries though! There’s also a fun video for Anya Taylor-Joy singing Downtown, as well as Steadicam rehearsals and animatics.

Verdict: Hands down the best horror movie at the cinema this Halloween, it’s a film fan’s treat, especially if you hit it as cold as possible. 9/10

Nick Joy