Last Night in Soho

The core plot is highly identity-driven. The movie is a cautionary tale about systemic misogyny, sexual exploitation, and female trauma. It uses a supernatural mystery to show how young women are abused and controlled by predatory men, directly addressing modern feminist themes.

The film heavily critiques toxic masculinity and male entitlement. Almost every male character from the 1960s is shown as predatory or abusive, and even some modern men are depicted as threats. This serves to critique traditional social setups and the romanticized view of the past, showing them as deeply flawed.

Some viewers and online reviewers complained that the film is heavy-handed with its feminist themes. They argued that it pushes an anti-male message by making almost all the white men creepy, abusive, or evil. Some also felt the contrast with the perfect, saintly black character was a forced choice to fit modern identity politics.

The key creative team has a low-to-moderate woke track record. Writer Edgar Wright has a score of 36, having expressed mild liberal leanings but prioritizing entertainment. Director Jeremy Lovering has a score of 17, and co-writer Krysty Wilson-Cairns has a score of 14, both having very little history with activist causes. Producers and casting directors also lean low-to-moderate.