Last Night in Soho

***Last Night in Soho*** adalah sebuah film horor psikologi garapan Edgar Wright, dengan skenario karya Wright dan Krysty Wilson-Cairns, berdasarkan pada sebuah cerita karya Wright. Film tersebut menampilkan Anya Taylor-Joy, Thomasin McKenzie, Matt Smith, Diana Rigg, dan Terence Stamp.

## Pemeran

## Penayangan
*Last Night in Soho* ditayangkan perdana di Festival Film Internasional Venice pada 4 September 2021. Film ini juga ditayangkan di Festival Film Internasional Toronto pada September 2021 and at the Strasbourg European Fantastic Film Festival on 10 September 2021. It held its Los Angeles premiere at the Academy Museum of Motion Pictures on 25 October 2021, making it the first new film to premiere at the museum. It was released on 29 October 2021. It was originally scheduled to be released on 25 September 2020, but was delayed to 23 April 2021, due to the COVID-19 pandemic, before being delayed again to October 22, then again to the following weekend.

Pada tanggal 20 Oktober 2021, Universal Pictures meluncurkan video musik  Anya Taylor-Joy's yang merupakan cover berjudul "Downtown" dari lagu latar film ini di mana ditampilkan beberapa adegan dari film ini.

## Penerimaan
### Pendapatan
, *Last Night in Soho* memperoleh pendapatan kotor sebesar $5,5 juta di Amerika Serikat dan Kanada, serta $2,3 juta di negara lain, dengan jumlah keseluruhan sebesar $7,9 juta.

Di Amerika Serikat dan Kanada, *Last Night in Soho* ditayangkan bersamaan dengan *[[Antlers]]* dan penambahan layar *[[The French Dispatch]]*, dan diperkirakan memperoleh pendapatan kotor sekitar $5 juta dari 3.016 bioskop pada akhir pekan pembukaan. The film made $1.9 million on its first day and went on to debut to $4.2 million, finishing sixth at the box office.

### Tanggapan
The review aggregator website Rotten Tomatoes sampled 240 critics and judged 74% of the reviews to be positive, with an average rating of 6.80/10. The site states "Although it struggles to maintain its thrilling early momentum, *Last Night in Soho* shows flashes of Edgar Wright at his most stylish and ambitious." On Metacritic, the film has a weighted average score of 65 out of 100, based on 54 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale, while those at PostTrak gave it a 73% positive score, with 56% saying they would definitely recommend it.

Robbie Collin of *[[The Daily Telegraph]]* gave the film a score of 4/5 stars, describing it as "a riotous, rascally hybrid of a thing: part glittering love-letter to the disreputable nightlife district in which it takes place, part darting psychological thriller that rips up the letter as soon as it's written before tearfully torching the scraps". Xan Brooks of *[[The Guardian]]* gave the film 4/5 stars, describing it as "a gaudy time-travel romp that whisks its modern-day heroine to a bygone London that probably never existed outside our fevered cultural imagination", and called it "thoroughly silly and stupidly enjoyable". David Rooney of *[[The Hollywood Reporter]]* described the film as "immensely pleasurable" and said that it "delights in playing with genre, morphing from time-travel fantasy to dark fairy tale, from mystery to nightmarish horror". Linda Marric of *[[The Jewish Chronicle]]* gave the film 4/5 stars, deeming it "a thrilling, gorgeously acted offering from a filmmaker who is at the top of his craft and knows exactly what he wants from his performers".

Brad Wheeler of *[[The Globe and Mail]]* gave the film a score of 2.5/4 stars, writing "Though visually sumptuous and a bunch of fun early on, Edgar Wright's take on sixties and seventies horror eventually devolves into unsatisfying spoof." Richard Lawson of *[[Vanity Fair (magazine)|Vanity Fair]]* was more critical of the film, describing it as a "clumsy horror pastiche" and writing "Perhaps the film's thematic intentions are noble. But its execution is glib, never finding the right balance between compassion and leering." Robert Daniels of *[[RogerEbert.com]]* gave the film a score of 1.5/4 stars, writing that it "is funny and chaotic, slick and stylish, and falls apart in its confounding second half". David Sims of *[[The Atlantic]]* wrote "While Wright remains exceptionally gifted at mashing up genres to create moments of real cinematic lightning, by and large, *Last Night in Soho* is all flash, no impact."

### Analisis

Jeff Ewing dari *Slash Film* menyebut akhir film ini dapat dimaknai lewat dua kemungkinan, menyenangkan atau menyedihkan. Kemungkinan menyedihkan ini ialah bisa jadi bahwa ada secuil jejak Sandie yang masih ada di raga Ellie yang mungkin efek samping dari pengeluaran yang begitu lama terjalin dalam kehidupan dan trauma Sandie. Pemaknaan ini bertalian dengan kutipan klasik Friedrich Nietzsche:



## Referensi

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