If you are wondering why the morality of the United States is going down faster than Lizzo falling down an elevator shaft, look no further than a land called Hollywood.

Only in a place controlled by progressives do they expect a pat on the back for tackling a “tough issue” that they themselves created in the first place. The MeToo movement was Hollywood getting exposed for the fact actresses and models would sleep with men in power in order to further their careers and sometimes the sex wasn’t consensual. 

In an attempt to clear themselves from any wrongdoing, Hollywood is using their films to lecture you, the viewers, about the wrongs of dragging young women into glorified prostitution rings. Imagine your local arsonist lecturing Smokey the Bear on how to prevent forest fires and you have the plot for the film “Last Night in Soho”.

Set in modern-day London, a young impressionable countryside girl named Eloise “Ellie” Turner (Thomasin McKenzie) moves to the big city to pursue her dreams of being a fashion designer. But after being unable to live with her inner-city slag roommates, Ellie looks for a place to live on her own. She finds a hole in the wall room full of bright neon lights and its own secret. Ellie has a sixth sense that allows her to travel back in time and relive moments of the past.

She jumps into the body of Sandie (Anya Taylor-Joy), a local singer from the 1960s, and what she discovers is that Sandie was a victim of a brutal murder years ago and her killer may still be alive today. Ellie struggles to balance the past and the present as she attempts to figure out what exactly happened to Sandie so she can bring her killer to justice….or so we think.

“Last Night in Soho” isn’t a bad movie, for much of its runtime, it is a rather good movie. Thomasin McKenzie is extremely charming as she carries the movie that lacks in its writing. McKenzie portrays the image of innocence and nativity that is needed to make her character believable despite the supernatural twist. A young girl who lives like she is a 60s teenager displaced in the modern nihilist world provides an interesting narrative clash. 

The film takes audiences on a trip to the aesthetics of the 1960s from the music, style, and history. The whodunit story line hooks the audience into the mystery of what is real, who is who, and how everything will end.  Ellie begins to thread the line of sanity as she is physically attacked by the apparitions of dozens of faceless men and would-be attackers. Everything is going well until it is time to reveal exactly what is happening and the film falls apart with a disturbing take-home message.

Spoilers Ahead.

The film ends with a finale that can only be described one way…sociopathic. In the final act, we discover that Sandie has actually been alive the entire time. As Ellie has spent the entire film trying to solve her murder, it turns out that Sandie was the killer the whole time. Not a bad twist right? It is the framing of the story that raised major red flags in the land of morality.

Sandie was a girl who wanted to be famous and in order to get there she hooked up with a club booker who turned her into a prostitute for powerful men. Sandie is your typical fame-obsessed woman who goes to Hollywood to be a star and sleeps with producers to get what she wants. After poisoning our protagonist and stabbing her so-called boyfriend in the stomach, Ellie has the opportunity to expose Sandie for her crimes but she doesn’t? Why? Because Sandie was the real victim and the men that she kills deserved it…Sandie is actually the hero…

NO.

Just because you willingly made a deal with the devil, that doesn’t make you the victim when it is time to collect. Sandie was a girl obsessed with fame, she knew what she was asked to do was wrong, she willingly made the decision to continue because her soul was the price she was willing to pay. To make the proclamation that her johns deserved to die based on some loose connection to the MeToo movement is stunningly narcissistic and borderline psychotic. You don’t get a pass for killing more people than Dylann Roof just because you believed you were wronged. #MeToo does not justify mass murder.  

The feminist narrative that all men are threats combined with the narrative of justifying mass murder destroys all goodwill this movie has set up for the previous 90 minutes of build-up. Setting aside the massive plot hole of how Sandie was able to kill more men than a COVID ward with nobody realizing, the going home message of feminist narcissism turns “Last Night In Soho” into another diversity rider dud. 

1.5/5