Written by Luke Barnes
Fashion student Ellie, played by Thomasin McKenzie, becomes wrapped up in a sinister world of sixties intrigue and murder after she begins boarding at a London bedsit. Each time Ellie goes to sleep she gets visions of a time before her own as she sees through someone else’s eyes, however as it progresses it no longer stays confined to the world of sleep.
This film is honestly masterful, Edgar Wright manages to go from lighter and more silly fare to dark and twisted horror with the ease that many of us find when opening the door in the morning. Though there have been many stories about a young starlet’s, played by Anya Taylor- Joy, downwards decline after the industry, nay the world, chews her up and leaves her for dead, none have been told as well as this. Whether it is the surprising misdirects, or the ultimate reveal the writing feels incredibly fresh and well-reasoned, for once I was not able to guess the twist.
I think the most powerful thing about this film is how it vocalises and raises awareness to the horrors women face on a daily basis. There is something of an anger within this film towards men, rightfully so I might add. This film shows just how perverse, cruel and ultimately maddening the world can be to a young woman, how toxic men can try and control them or coerce them, and truly that is the scariest thing about it. The real frightening thing about this notion is that the world as we see it in the sixties flashbacks is not so different from the modern world of Ellie, and us the audience.
From a filmmaking point of view everything about this film is sublime even down to the performances.
Overall, Edgar Wright magnificently manages to tackle a whole new genre with ease and create one of the strongest horrors of the year.
Anya Taylor-Joy’s sinister performance
The comments on society
Strong scares throughout
One or two ideas needed development
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