Most film directors have a particular signature style. Spielberg does the heartfelt family films with a fantasy element, Tarantino does the tight dialogue and paints the set with fake blood, and Kubrick seemingly does whatever he wants no matter how weird and wonderful. Now these directors (and any other big names you may think of) also tend to stick to the same genres. But what if there was a director with a signature style that could be adapted to almost any genre? Enter Edgar Wright. When I first heard the director of the Cornetto Trilogy and Baby Driver was doing a psychological horror, I experienced intrigue and excitement which I hadn’t felt for any other upcoming film. Not only is Last Night in Soho a beautifully crafted film which allows the past and present to converge, but it is proof that Edgar Wright can take on almost any genre and make it his own. This is something I believe not many other directors can do, and the exact reason why Wright deserves to have his name up there with the greats previously mentioned.
I spent years with Shaun of the Dead on DVD having never watched it, so when I finally got around to watching it I completely understood why everyone had egged me on to watch it for so long. Wright drops the everyday British man into a zombie apocalypse and produces some hilariously relatable results. Who knew a film about a zombie apocalypse would make me want to go for a pint? I then watched Hot Fuzz for the first time shortly after, and it did not disappoint either. A buddy-cop movie with Simon Pegg and Nick Frost apprehending a group of murderous pensioners in a quiet country village was exactly what I didn’t know I wanted. The rapid montages, music-scene synchronisation and unique use of every day sounds are just some of the little delights about Wright’s filmmaking style we’ve come to love. The first thing I think of when someone says Edgar Wright is a series of rapid close up shots of pints being poured followed by Simon Pegg saying “A man of your legendary prowess drinking fucking rain!” Many may find World’s End‘s sci-fi twists an unusual jump which doesn’t quite live up to the comedically apocalyptic vibe of Shaun of the Dead. I however believe the idea of a group of men on a pub crawl being forced to deal with an alien apocalypse is a brilliant concept which Wright makes his own. Simon Pegg and Nick Frost make these films undeniably British, from their outrageous quips to their relatable back and forths, they truly are one of Britain’s most iconic duos.
What many may not be aware of is that one of Wright’s first projects was a quirky, cozy little sitcom called Spaced. It brought Wright, Pegg and Frost together for the first time and is often regarded as the series which acted as the ‘catalyst’ for the Cornetto Trilogy. It stars Tim (Pegg) and Daisy (Jessica Hynes) as a couple of broke youths who pretend to be a couple in order to rent a place together. The series establishes many of the Edgar Wright-isms we’ve come to know and love. There is one scene in particular which lays down the foundations for Shaun of the Dead. Spaced gives me a very cozy feeling that we are all in our own little worlds dealing with our little gripes and annoyances, and we deal with them in hilariously embarrassing ways. I would recommend watching Spaced to any fan of the Cornetto Trilogy and anyone who would enjoy a unique, quirky British sitcom.
Wright’s movement into other genres and into American cinema has also proved to be some of his finest work. Scott Pilgrim Vs. The World is his brilliant adaption of the comics of the same name, and goes all out in the comic book accuracy. All of these debates on how accurate films are to the source material could be resolved if every film was like Scott Pilgrim. The film quite literally feels like a real-life comic book; the titular character falling in love with a girl and having to defeat her ‘seven evil exes’ in several video game-style fight scenes which are spectacles to behold. I could go on and analyse how Wright’s unique use of music and sound effects make this comic book come to life, but I don’t need to. It is something simply worth experiencing for yourself. And what can I say about Baby Driver which hasn’t been said already? This film is arguably not only the best heist-action film ever made, but it quite possibly has the best soundtrack of any film I’ve ever watched. It introduced me to a whole new generation of music I was shocked I’d never heard sooner. Wright’s use of popular songs exaggerates the thrills of an action scene and makes you almost wish you were a getaway driver. Whilst the plot about a young getaway driver dealing with working with a series of different criminals is fun and unique, this film isn’t even about the plot. It’s about the thrills, the music, and placing yourself in the shoes of a criminal trying to find his way. Once again, it’s possible to write a book analysing every shot, sound, and scene in this film. But for me, Baby Driver is a film which simply needs to experienced to appreciate the fine filmmaking creativity it produces.
To me, Last Night in Soho is almost like the cherry on top of Wright’s multi-genre spanning cake. Wright takes a frighteningly real concept and turns it into a psychological horror. The present and the past clash as young fashion student Ellie (Thomasin McKenzie) begins dreaming of a star-studded 1960s Soho, observing the life of aspiring singer Sandie (Anya Taylor-Joy). But the film reminds us how quickly dreams can become nightmares, and how what we want is not always what it’s cut out to be. The stunning lighting of 1960s Soho, and a retro soundtrack which challenges the likes of Baby Driver’s soundtrack made me feel like I was truly looking through a window into the past. I’m so happy for Edgar Wright. The man has proved he can successfully make any genre his own, using his unique style of filmmaking to make us enjoy the genres of film we love that little bit more. I’d highly recommend watching Last Night in Soho, whether you’ve watched any of Wright’s previous films or not. I’ve been playing the soundtrack on repeat and it’s made me rewatch some of Wright’s earlier films yet again! I cannot wait to see what Wright brings us in the future, and whatever it is, I’ll be there for it.
G does Films 