Casey Malone’s review published on Letterboxd:
Hey, uh, what the fuck happened here? I was excited for Wright to have a co-writer again because, despite being fun to watch, I think that the screenplay for Baby Driver is Garden State levels of embarrassing. And, as far as semi-sexy supernatural thrillers go, I was having a great time for an hour and a half. And I thought Wright was playing with some pretty interesting and personal themes, too, as the lead character's increasingly unhealthy obsession with an era of British Culture seems to mirror Wright's own. Cool!
Then Wright and Krysty Wilson-Cairns try to pay off everything they set up and fumble it so completely. Watching them "The Story of Everest" every element of the ending was genuinely shocking - it doesn't work logically or thematically, it's misogynist as hell, and the coda at the end was embarrassing not just for the filmmakers but for the characters in the fucking story. Yikes.
Has Wright just gotten a pass on the fact that he just doesn't include women in his stories because his work is so stylish? Or is it his personality? People level this (justifiable) complaint at Christopher Nolan all the time - is it because he comes across like a man made of November morning concrete and Wright dodges it because he's a cinnamon bun? Obviously Scott Pilgrim (a book I love, a movie I like) has aged pretty poorly after 10 years of GamerGate and r/incel posts, but it wasn't until I had to think about this movie in the place of his larger canon that I realized that this is par for the course for him. Not great! Last Night in Soho just clicked into place that Wright's whole vibe is a guy who was too scared to talk to girls, so he's spent his entire life memorizing the credits of every Hammer Horror movie (we can smell our own), and it sucks that it's finally manifested in his work in a way that's unavoidable.
I'll still see whatever he makes next - I just hope it's a lot better than this!