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Dean (6921 KP) rated On Her Majesty's Secret Service (1969) in Movies
Sep 29, 2021
Usual Bond elements (1 more)
Diana Rigg
Choppy editing (1 more)
Weak Sfx
We have all the time in the world
Finally got around to watching this one and was surprised it was better than I expected. It has all the main Bond ingredients, the Aston, crazy villain, awesome locations and plenty of action. Although Diana Rigg really stood out for me as a strong minded Bond girl. Some of Sfx scenes are very dated and some of fights are poorly edited. The overall villian plot might be a bit weak as well but as a whole this is a decent Bond film.
Awix (3310 KP) rated The Avengers in TV
Mar 4, 2018 (Updated Mar 4, 2018)
Iconic British cult adventure series. Very few shows change as much as The Avengers did over its seven season run; what started off as a gritty thriller about Ian Hendry's crime-busting doctor gradually transformed first into virtual science fiction (the Diana Rigg episodes feature mind-swapping machines, killer robots and a brain-controlling alien plant) and then a much more whimsical fantasy show for its final year or so.
Many of the early episodes are quite hard work now, but the two seasons where Macnee is paired with Diana Rigg are classic TV, and the sometimes-maligned final season with Linda Thorson also contains many neglected gems (the episode with the murderous clowns, for instance). Even when the show is not quite firing on all cylinders, there is always Patrick Macnee's inimitable performance as Steed to enjoy.
Many of the early episodes are quite hard work now, but the two seasons where Macnee is paired with Diana Rigg are classic TV, and the sometimes-maligned final season with Linda Thorson also contains many neglected gems (the episode with the murderous clowns, for instance). Even when the show is not quite firing on all cylinders, there is always Patrick Macnee's inimitable performance as Steed to enjoy.
Kevin Phillipson (9937 KP) rated Last Night in Soho (2021) in Movies
Dec 2, 2021
Anna Taylor- joy (4 more)
Thomasin mckenzie
Matt smith
Diana rigg
Music
Downtown
I've been wanting to see this movie all year and I'm glad I did. Am a fan of Edgar wright's movie from shaun of the dead to Scott pilgrim vs the world but this one is his attempt at straight horror and it is brilliant movie. Everything about it the music I can't get downtown out of my head the two leads are Brilliant Anna Taylor- joy can't do no wrong and thomasin mckenzie as elloise just as exceptional also got to mention the suppling cast matt Smith big fan since doctor who days good but I mustn't forget Diana Rigg in her last role who was such a 60s icon who will be missed. There is so much about this movie the 60s setting London itself the way they cut between the actress by showing them in the mirror at the same time. Overall I would say this is one of Edgar wright's best works highly recommend go out and see it also contender for my film of the year
Awix (3310 KP) rated The Assassination Bureau (1969) in Movies
Oct 1, 2020
Knockabout black comedy thriller. A feisty journalist (Rigg) challenges the leader of a group of elite assassins (Reed) to have himself killed: feeling his associates have become sloppy and corrupt, he accepts the challenge as it will allow him to purge his organisation. Exploits across Edwardian Europe follow, together with a touch of romance.
Oliver Reed never had the career as a leading man he deserved; Diana Rigg didn't get the film career you would have expected, either, so the film has a certain rarity value. However it's just not very funny, or thrilling, and the duo don't seem to have much chemistry - that said, a script which doesn't seem to know whether to be darkly witty or zany means he seems to be operating at about half-power. With Rigg and Savalas co-starring in a 1969 film about a suave assassin taking on a criminal conspiracy, the temptation is to speculate that this film gives a hint of what On Her Majesty's Secret Service might have looked like had Eon made better casting decisions - one hopes not, for this film isn't great in any department, on top of which the special effects in the climax are rotten and the closing song is pretty grim too. A waste of several great talents.
Oliver Reed never had the career as a leading man he deserved; Diana Rigg didn't get the film career you would have expected, either, so the film has a certain rarity value. However it's just not very funny, or thrilling, and the duo don't seem to have much chemistry - that said, a script which doesn't seem to know whether to be darkly witty or zany means he seems to be operating at about half-power. With Rigg and Savalas co-starring in a 1969 film about a suave assassin taking on a criminal conspiracy, the temptation is to speculate that this film gives a hint of what On Her Majesty's Secret Service might have looked like had Eon made better casting decisions - one hopes not, for this film isn't great in any department, on top of which the special effects in the climax are rotten and the closing song is pretty grim too. A waste of several great talents.
Awix (3310 KP) rated The Avengers - Season 4 in TV
Aug 17, 2020
Difficult not to use words like iconic to describe this; the two seasons with Diana Rigg (this is the first of them) is what defines this series in the public recollection. Gentleman spy John Steed and his leather-clad friend Emma Peel investigate a wide range of threats to British society as we know it, ranging from the relatively mundane (attempts to assassinate visiting dignitaries) to the positively outlandish (man-eating Martian plants with mind-control powers).
Occasionally a bit tonally uneven, but still mostly a joy to watch even after all these years: the two leads are clearly enjoying themselves hugely and so are the characters (most of the time). The best episodes have a sort of intelligent silliness about them which is almost irresistible: they sustain a mixture of spy spoof, black comedy, and science fiction which many have tried to copy but few have achieved. This is the Avengers in its imperial phase.
Occasionally a bit tonally uneven, but still mostly a joy to watch even after all these years: the two leads are clearly enjoying themselves hugely and so are the characters (most of the time). The best episodes have a sort of intelligent silliness about them which is almost irresistible: they sustain a mixture of spy spoof, black comedy, and science fiction which many have tried to copy but few have achieved. This is the Avengers in its imperial phase.
Bob Mann (459 KP) rated Last Night in Soho (2021) in Movies
Nov 11, 2021
Edgar Wright’s Haunting Love Letter to the Swinging Sixties.
A young 21st-century teen walks in her nightclothes down a darkened alley emerging into a bustling 60’s Soho street across from a theatre showing “Thunderball”. She enters the Cafe de Paris with a reflection mimicking her actions but showing a very different girl. So it was that the trailer for Edgar Wright’s “Last Night in Soho” hit earlier this year.
The trailer grabbed me by the gut and firmly cemented it as a “must see” in my movie-watching schedule. Frustratingly, Covid got in my way. But now free of the wretched virus, this had just HAD be my first outing.
Plot Summary:
Eloise (Thomasin McKenzie) is a Cornish teen whose fashion and music tastes are firmly rooted in the ’60s. She is also blessed (or plagued) with having visions of people who’ve passed, including her dead mother.
Travelling to a London fashion school, Eloise is a lost soul in a raucous world. But at night, she is mystically transported back to the swinging 60’s into the body of aspiring singer Sandie (Anya Taylor-Joy). Sandie is under the thrall of ‘manager’ Jack (Matt Smith), and Eloise witnesses events that she needs to tell people about. But who would possibly believe such a tale?
Certification:
US: R. UK: 18.
Talent:
Starring: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Terence Stamp, Diana Rigg.
Directed by: Edgar Wright.
Written by: Krysty Wilson-Cairns (based on a story by Edgar Wright).
“Last Night in Soho” Review: Positives:
This is SUCH a tour de force of filmmaking. Honestly, there were moments in here, particularly in the first half of the movie, where I was beaming from ear to ear at the audacity of it all. That ‘time travel’ reveal is even better in ‘the flesh’ than it was in the trailer, enhanced by the vibrant cinematography of Chung-hoon Chung.
Thomasin McKensie again impressed me immensely. She was of course the ‘girl in the attic’ from “Jojo Rabbit” and the best thing in the lacklustre M. Night Shyamalan feature “Old“. Anya Taylor-Joy is as spectacular as you would expect and Matt Smith also delivers, although I wasn’t completely convinced by Smith’s cockney accent. And what a wonderful thing to watch veteran actors Terence Stamp and Diana RIgg strut their stuff on the big screen. (This was Rigg’s final screen performance, and the film is dedicated to her: “For Diana”. RIP Ms Rigg.)
The combination of ‘in camera’ and special effects here are gob-smackingly effective. Some of the ‘mirror’ effects involving Eloise, Sandie and Jack in the club are gleeful. And I’m not sure how they were all done. And a dance sequence where Eloise switches to Sandie and back again is just so clever.
The Production Design is just brilliant. It oozes a combination of 60’s style and sleaze. Surely an Oscar nomination is due here.
As with other Edgar Wright movies (like “Baby Driver“) the choice of music is superb. The score is by Oscar winning composer Steven Price, but you can be sure that Wright was heavily involved in the track selections. These prominently feature a Cilla Black track – heralded by 15 string beats of total perfection – that is in my top 5 songs from the 60’s. And Anya Taylor-Joy’s haunting version of “Downtown” is just superb.
Acting Royalty…. Diana Rigg in her last role, and….
Negatives:
The second half of the film just doesn’t *quite* live up to the promise of the first half (which was running as a clear 5*s).
While the inevitable twist in the tale is clever (and unexpected), I thought it was rather clumsily introduced. (I can’t go into details without introducing spoilers, but an envelope is involved). Something more subliminal would have been my preference; something that you would have had to watch the film again to catch.
A stunning starring role for Thomasin McKenzie. Just wonderful.
Summary Thoughts on “Last Night in Soho”
I loved this one. It lived up to my expectations, and came close to “classic status”. I need to give this careful consideration as to where this sits in my “Top 10 Films of the Year”, but it is undoubtedly up there in the list.
Highly recommended, if you are content to stomach some violent (and quite disturbing) horror imagery.
The trailer grabbed me by the gut and firmly cemented it as a “must see” in my movie-watching schedule. Frustratingly, Covid got in my way. But now free of the wretched virus, this had just HAD be my first outing.
Plot Summary:
Eloise (Thomasin McKenzie) is a Cornish teen whose fashion and music tastes are firmly rooted in the ’60s. She is also blessed (or plagued) with having visions of people who’ve passed, including her dead mother.
Travelling to a London fashion school, Eloise is a lost soul in a raucous world. But at night, she is mystically transported back to the swinging 60’s into the body of aspiring singer Sandie (Anya Taylor-Joy). Sandie is under the thrall of ‘manager’ Jack (Matt Smith), and Eloise witnesses events that she needs to tell people about. But who would possibly believe such a tale?
Certification:
US: R. UK: 18.
Talent:
Starring: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Terence Stamp, Diana Rigg.
Directed by: Edgar Wright.
Written by: Krysty Wilson-Cairns (based on a story by Edgar Wright).
“Last Night in Soho” Review: Positives:
This is SUCH a tour de force of filmmaking. Honestly, there were moments in here, particularly in the first half of the movie, where I was beaming from ear to ear at the audacity of it all. That ‘time travel’ reveal is even better in ‘the flesh’ than it was in the trailer, enhanced by the vibrant cinematography of Chung-hoon Chung.
Thomasin McKensie again impressed me immensely. She was of course the ‘girl in the attic’ from “Jojo Rabbit” and the best thing in the lacklustre M. Night Shyamalan feature “Old“. Anya Taylor-Joy is as spectacular as you would expect and Matt Smith also delivers, although I wasn’t completely convinced by Smith’s cockney accent. And what a wonderful thing to watch veteran actors Terence Stamp and Diana RIgg strut their stuff on the big screen. (This was Rigg’s final screen performance, and the film is dedicated to her: “For Diana”. RIP Ms Rigg.)
The combination of ‘in camera’ and special effects here are gob-smackingly effective. Some of the ‘mirror’ effects involving Eloise, Sandie and Jack in the club are gleeful. And I’m not sure how they were all done. And a dance sequence where Eloise switches to Sandie and back again is just so clever.
The Production Design is just brilliant. It oozes a combination of 60’s style and sleaze. Surely an Oscar nomination is due here.
As with other Edgar Wright movies (like “Baby Driver“) the choice of music is superb. The score is by Oscar winning composer Steven Price, but you can be sure that Wright was heavily involved in the track selections. These prominently feature a Cilla Black track – heralded by 15 string beats of total perfection – that is in my top 5 songs from the 60’s. And Anya Taylor-Joy’s haunting version of “Downtown” is just superb.
Acting Royalty…. Diana Rigg in her last role, and….
Negatives:
The second half of the film just doesn’t *quite* live up to the promise of the first half (which was running as a clear 5*s).
While the inevitable twist in the tale is clever (and unexpected), I thought it was rather clumsily introduced. (I can’t go into details without introducing spoilers, but an envelope is involved). Something more subliminal would have been my preference; something that you would have had to watch the film again to catch.
A stunning starring role for Thomasin McKenzie. Just wonderful.
Summary Thoughts on “Last Night in Soho”
I loved this one. It lived up to my expectations, and came close to “classic status”. I need to give this careful consideration as to where this sits in my “Top 10 Films of the Year”, but it is undoubtedly up there in the list.
Highly recommended, if you are content to stomach some violent (and quite disturbing) horror imagery.
tonidavis (353 KP) rated Game Of Thrones - Season 3 in TV
Jul 14, 2017
The Rains of Castermere (3 more)
Oueen of thorns
Tyrion
Tyrells
Nice day for a red wedding
By far rains of Castermere is my favorite game of thrones episode. With the exception of Ayra im not a Stark fan i usually find characters that are perceived at that noble are the most hypocritical. Catelyn's treatment of Jon is enough for that she promised the gods if Bran lived she would treat him like a son that didn't happen. So the red wedding was a great episode for me.
Season 3 also had the arrival of the character i want to be when i grow old the Queen of thorns herself Olenna Tyrell Not only is this character a major hard ass power player she is played by the amazing and wonderful Diana Rigg who brings this character to life. Her sharp toungue and wit is great and lets face it you don't live that long in game of thrones without knowing how to play the game well.
As every other season Both Ayra character development is well written and great to follow and Tyrion is still the master of all.
Season 3 also had the arrival of the character i want to be when i grow old the Queen of thorns herself Olenna Tyrell Not only is this character a major hard ass power player she is played by the amazing and wonderful Diana Rigg who brings this character to life. Her sharp toungue and wit is great and lets face it you don't live that long in game of thrones without knowing how to play the game well.
As every other season Both Ayra character development is well written and great to follow and Tyrion is still the master of all.
LeftSideCut (3778 KP) rated Last Night in Soho (2021) in Movies
Dec 1, 2021
Straight off the bat, there is a whole lot to love about Last Night in Soho. It's a modern-London thriller with a dashing of supernatural horror. It's a modern horror with lashings of giallo. It's a giallo that is also a murder mystery. It bursting with colour, and has two exceptionally talented actors at it's helm.
I enjoy Anya Taylor-Joy in pretty much anything she's in, and the same applies here, stealing most of the scenes that she's in. Thomasin McKenzie is an infectiously likable protagonist, whether she's battling seedy-men ghosts, or the struggles of going to University in England (the scene near the beginning where she's stuck at a dorm party is a literal nightmare put straight onto the screen if you ask me). She's fantastic here as she was in Jojo Rabbit.
It boasts a strong supporting cast as well. Matt Smith plays a convincing shit-bag, and is quite clearly having a ball shouting in a cockney accent. It's always a pleasure to see Terence Stamp, and of course, Diana Rigg was one of the best in the game, and her performance here in her final role is testament to that.
LNIS is dripping with style, which is to be expected from Edgar Wright, but it's more subtle than a lot of his other works, substituting clever edits, cuts, and comedy for a film that's visual crack with a more serious tone. The vibrancy of its colour pallettes, both in the modern and 60s settings are as important as any character. Every frame feels like it's been lovingly poured over and is cinematic in every sense of the word. It also boasts a stellar soundtrack. I didn't realise how much I fucking love a bit of Cilla Black but here we are.
The only minor gripes I have is that it does drag ever so slightly during the final third. At one point it feels like a natural resolve is near, but then the narrative continues for a while longer before the twists and turns land. It also goes a little slasher-y at one point, which isn't necessarily an issue, but it feels a bit alien to the rest of the vibe (still manages to be a visually striking moment though!)
Overall though, Last Night in Soho is an incredibly engaging and enjoyable thriller, and is a proud addition to both Wright's filmography, and the modern resurgence of top quality horror.
I enjoy Anya Taylor-Joy in pretty much anything she's in, and the same applies here, stealing most of the scenes that she's in. Thomasin McKenzie is an infectiously likable protagonist, whether she's battling seedy-men ghosts, or the struggles of going to University in England (the scene near the beginning where she's stuck at a dorm party is a literal nightmare put straight onto the screen if you ask me). She's fantastic here as she was in Jojo Rabbit.
It boasts a strong supporting cast as well. Matt Smith plays a convincing shit-bag, and is quite clearly having a ball shouting in a cockney accent. It's always a pleasure to see Terence Stamp, and of course, Diana Rigg was one of the best in the game, and her performance here in her final role is testament to that.
LNIS is dripping with style, which is to be expected from Edgar Wright, but it's more subtle than a lot of his other works, substituting clever edits, cuts, and comedy for a film that's visual crack with a more serious tone. The vibrancy of its colour pallettes, both in the modern and 60s settings are as important as any character. Every frame feels like it's been lovingly poured over and is cinematic in every sense of the word. It also boasts a stellar soundtrack. I didn't realise how much I fucking love a bit of Cilla Black but here we are.
The only minor gripes I have is that it does drag ever so slightly during the final third. At one point it feels like a natural resolve is near, but then the narrative continues for a while longer before the twists and turns land. It also goes a little slasher-y at one point, which isn't necessarily an issue, but it feels a bit alien to the rest of the vibe (still manages to be a visually striking moment though!)
Overall though, Last Night in Soho is an incredibly engaging and enjoyable thriller, and is a proud addition to both Wright's filmography, and the modern resurgence of top quality horror.
Darren (1599 KP) rated On Her Majesty's Secret Service (1969) in Movies
Nov 7, 2019
Characters – James Bond is back, he is still a womaniser only now he doesn’t have the same spark of charisma that he had been showing in previous films, he still must go head to head with Blofeld, but he just doesn’t feel right this time around. Tracey is the Bond girl this time around, she isn’t as easy as the previous one showing a higher intelligence to stay ahead of Bond and not following the traditions that her father wants. Blofeld returns and for some reason doesn’t recognise Bond even after meeting him in the last film, so that is strange. He has a masterplan to take over the world or at least put money in his pocket, well bank account. Draco is the connection to locate Blofeld with him being Tracy’s father it also helps with the locating as part of a deal.
Performances – George Lazenby doesn’t have the same level of charisma or charm that Sean Connery brings, this only disappoints and takes us away from the film in places. Diana Rigg does bring class the to Bond girl role, showing more commitment to this role that Lazenby. Telly Savalas struggles to step into Donald Pleasence’s shoes in the Blofeld role almost being a parody of the character.
Story – The story here takes James on his latest mission which is to capture Blofeld after his escape last time out, this takes him in a new direction away from the tropical islands and into the snow-covered mountain ranges as Blofeld is working on his next plan to become rich. The story is a way too long compared to previous films and does drag at times, the fact Blofeld doesn’t remember James is a big issue for me because them coming face to face was a big moment in You Only Live Twice. The highlight of the story comes from the fact we get a surprise ending which does show us that we are ready to continue the battle.
Action/Adventure – The action is a complete mixed bag because certain fights are good, but then the horrible green screen moments just don’t work. The adventure takes James to a new location which is all we want at times.
Settings – We are set in the Swiss Alps on top of one of the mountains which shows us a base that isn’t easy to escape from and away from the bikinis we have been seeing too often.
Scene of the Movie – Ski escape.
That Moment That Annoyed Me – Blofeld not remember Bond.
Final Thoughts – This is the weakest in the series to date, we just don’t get drawn in like before and the attempted new technology use only hinders the film.
Overall: Weakest Bond film to date.
Performances – George Lazenby doesn’t have the same level of charisma or charm that Sean Connery brings, this only disappoints and takes us away from the film in places. Diana Rigg does bring class the to Bond girl role, showing more commitment to this role that Lazenby. Telly Savalas struggles to step into Donald Pleasence’s shoes in the Blofeld role almost being a parody of the character.
Story – The story here takes James on his latest mission which is to capture Blofeld after his escape last time out, this takes him in a new direction away from the tropical islands and into the snow-covered mountain ranges as Blofeld is working on his next plan to become rich. The story is a way too long compared to previous films and does drag at times, the fact Blofeld doesn’t remember James is a big issue for me because them coming face to face was a big moment in You Only Live Twice. The highlight of the story comes from the fact we get a surprise ending which does show us that we are ready to continue the battle.
Action/Adventure – The action is a complete mixed bag because certain fights are good, but then the horrible green screen moments just don’t work. The adventure takes James to a new location which is all we want at times.
Settings – We are set in the Swiss Alps on top of one of the mountains which shows us a base that isn’t easy to escape from and away from the bikinis we have been seeing too often.
Scene of the Movie – Ski escape.
That Moment That Annoyed Me – Blofeld not remember Bond.
Final Thoughts – This is the weakest in the series to date, we just don’t get drawn in like before and the attempted new technology use only hinders the film.
Overall: Weakest Bond film to date.
BankofMarquis (1832 KP) rated Last Night in Soho (2021) in Movies
Nov 5, 2021
Unique
Writer/Director Edgar Wright has developed into one of the more unique film makers working today with a stylistic look, feel and sound to all of his films. Long known as the Director of the Simon Pegg/Nick Frost comedies (SHAUN OF THE DEAD, HOT FUZZ and AT WORLD’S EDGE), Wright started coming into his own with the under-rated SCOTT PILGRIM vs. THE WORLD and the marvelous BABY DRIVER and with his latest film, the trippy thriller LAST NIGHT IN SOHO, Wright has graduated - in my eyes - as a Director who’s work is “must watch” whenever they come out.
LAST NIGHT IN SOHO is unique, stylized, stunning - both visually and aurally - mind-bending, tense and satisfying. A truly unique film by a unique filmmaker.
To tell the tale of LAST NIGHT IN SOHO is to spoil it. The less you know about it, the better. But, as the trailers suggest, a modern young fashion student is in London and is transported into the “swinging ‘60’s London and ends up living, vicariously, the life of another. That’s all I’ll say. I would recommend just going in and let the story wash all over you - both through the eyes and through the ears - which is why I would recommend this film been seen in a theater (or, at the very least, on a set-up with a killer sound system).
Because of the highly stylized and “go with it” feel of this film, the performances have a tendency to move to the background, but they are very well done. Thomasin McKenzie (JOJO RABBIT) is a strong choice as the Fashion Student who has this “adventure” (to say more is to spoil), she brings the right amount of reality and “unreality” to her character. Anya Taylor-Joy (THE QUEEN’S GAMBIT) is superb as Sandie, the object of the “adventure”. She isn’t asked to do much more than be mysterious - and she does it well.
Wright, wisely, fills the rest of the film with strong supporting players - Matt Smith (DR. WHO), the great Terence Stamp (THE LIMEY) and, most importantly, Dame Diana Rigg (Emma Peel in THE AVENGERS in the 1960’s, in her final film role before her death in September 2020), all bring their “A” game to the festivities and fill their roles well.
It’s not a perfect film, the beginning drags on a bit before things start to get good (and weird) and their is a superfluous subplot involving some “Mean Girls” at the Fashion School that our heroine attends in today’s world - a subplot that never really goes anywhere. The ending, also, does go “over the top”, but by that time, I was swept up in the style of this film and forgave it it’s flaws.
I ended up having LAST NIGHT IN SOHO-type dreams, and indication that this film struck a chord with me and is going to stay with me for awhile - and is probably worth a re-watch (it certainly is one of those types of films that can be different upon a re-watch).
Well worth the effort to check it out on the Big Screen - certainly the visuals and sound will make it worthwhile.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
LAST NIGHT IN SOHO is unique, stylized, stunning - both visually and aurally - mind-bending, tense and satisfying. A truly unique film by a unique filmmaker.
To tell the tale of LAST NIGHT IN SOHO is to spoil it. The less you know about it, the better. But, as the trailers suggest, a modern young fashion student is in London and is transported into the “swinging ‘60’s London and ends up living, vicariously, the life of another. That’s all I’ll say. I would recommend just going in and let the story wash all over you - both through the eyes and through the ears - which is why I would recommend this film been seen in a theater (or, at the very least, on a set-up with a killer sound system).
Because of the highly stylized and “go with it” feel of this film, the performances have a tendency to move to the background, but they are very well done. Thomasin McKenzie (JOJO RABBIT) is a strong choice as the Fashion Student who has this “adventure” (to say more is to spoil), she brings the right amount of reality and “unreality” to her character. Anya Taylor-Joy (THE QUEEN’S GAMBIT) is superb as Sandie, the object of the “adventure”. She isn’t asked to do much more than be mysterious - and she does it well.
Wright, wisely, fills the rest of the film with strong supporting players - Matt Smith (DR. WHO), the great Terence Stamp (THE LIMEY) and, most importantly, Dame Diana Rigg (Emma Peel in THE AVENGERS in the 1960’s, in her final film role before her death in September 2020), all bring their “A” game to the festivities and fill their roles well.
It’s not a perfect film, the beginning drags on a bit before things start to get good (and weird) and their is a superfluous subplot involving some “Mean Girls” at the Fashion School that our heroine attends in today’s world - a subplot that never really goes anywhere. The ending, also, does go “over the top”, but by that time, I was swept up in the style of this film and forgave it it’s flaws.
I ended up having LAST NIGHT IN SOHO-type dreams, and indication that this film struck a chord with me and is going to stay with me for awhile - and is probably worth a re-watch (it certainly is one of those types of films that can be different upon a re-watch).
Well worth the effort to check it out on the Big Screen - certainly the visuals and sound will make it worthwhile.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)