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ラストナイト・イン・ソーホー
ラストナイト・イン・ソーホー

ラストナイト・イン・ソーホー

“夢と恐怖が、シンクロする”

20211h 57m★ 7.3ホラー謎
U-NEXT

あらすじ

ファッションデザイナーを夢見るエロイーズ(トーマシン・マッケンジー)は、ロンドンのデザイン学校に入学する。しかし同級生たちとの寮生活に馴染めず、ソーホー地区の片隅で一人暮らしを始めることに。新居のアパートで眠りに着くと、夢の中で60年代のソーホーにいた。そこで歌手を夢見る魅惑的なサンディ(アニャ・テイラー=ジョイ)に出会うと、身体も感覚も彼女とシンクロしていく。夢の中の体験が現実にも影響を与え、充実した毎日を送れるようになったエロイーズは、タイムリープを繰り返していく。だがある日、夢の中でサンディが殺されるところを目撃してしまう。その日を境に現実で謎の亡霊が現れ始め、徐々に精神を蝕まれるエロイーズ。そんな中、サンディを殺した殺人鬼が現代にも生きている可能性に気づき、エロイーズはたった一人で事件の真相を追いかけるのだが……。 果たして、殺人鬼は一体誰なのか?そして亡霊の目的とは-!?

作品考察・見どころ

エドガー・ライト監督が放つ本作は、60年代ロンドンへの憧憬を鮮烈な色彩と眩い音楽で描き出しつつ、その裏に潜む時代の毒を暴くサイコスリラーです。鏡越しに共鳴し合う二人の女性の姿は、過去の華やかさが孕む暴力性と、現代を生きる者の孤独を鋭く結びつけます。ノスタルジーに耽溺することの危うさを突きつける、眼福かつ痛烈な映像体験です。 特筆すべきは、緻密な演出で実現した鏡のシーケンス。トーマシン・マッケンジーの繊細な震えとアニヤ・テイラー=ジョイの圧倒的な輝きが溶け合う様は、もはや魔法です。夢のような高揚感が、次第に底知れぬ恐怖へと変貌していく演出の妙に、観る者は最後まで五感を支配され続けるでしょう。

興行成績

製作費: $43,000,000 (65億円)

興行収入: $22,957,625 (34億円)

推定収支: $-20,042,375 (-30億円)

※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。

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キャスト

トーマシン・マッケンジー
トーマシン・マッケンジー
Eloise Turner
アニヤ・テイラー=ジョイ
アニヤ・テイラー=ジョイ
Sandie
Matt Smith
Matt Smith
Jack
Rita Tushingham
Rita Tushingham
Peggy Turner
Michael Ajao
Michael Ajao
John
Synnøve Karlsen
Synnøve Karlsen
Jocasta
Pauline McLynn
Pauline McLynn
Carol
Terence Stamp
Terence Stamp
Silver-Haired Gentleman
ダイアナ・リグ
ダイアナ・リグ
Ms. Collins
No Image
Aimée Cassettari
Eloise's Mother

スタッフ・制作会社

監督: エドガー・ライト

脚本: エドガー・ライト / Krysty Wilson-Cairns

音楽: Steven Price

制作: ダニエル・バトセク / Rachael Prior / エドガー・ライト

撮影監督: 정정훈

制作会社: Focus Features / Film4 Productions / Working Title Films / Complete Fiction / Perfect World Pictures

TMDB ユーザーのレビュー

Manuel São Bento
Manuel São Bento
★ 7

FULL SPOILER-FREE REVIEW @ https://www.msbreviews.com/movie-reviews/last-night-in-soho-spoiler-free-review "Last Night in Soho is incredibly captivating throughout the entire runtime, but Edgar Wright's all-in in the insane third act is definitely going to generate a divisive response. Story-wise, the compelling protagonists - brilliantly interpreted by Thomasin McKenzie and Anya Taylor-Joy - follow intriguing arcs holding unexpected revelations that ultimately make sense with the overall narrative. Stunning cinematography and production design come together to create a visually jaw-dropping 1960s London, which becomes an even more entertaining place to visit due to Steve Price's addictive music. However, the last act feels a sudden hurry to tie every knot through overwhelming editing, hasty pacing, and careless transitions, which work against what the film had been until that point. I commend Wright's commitment and extreme dedication to his vision, but the restraint shown previously should have also been part of the conclusion." Rating: B+

JPV852
JPV852
★ 7

Not a big fan of Edgar Wright compared to some (fine filmmaker but don't get excited when a project of his is announced; and to be fair, same really goes for Christopher Nolan as well lately), but this one does feature some good 1960s-era music and the performances from both Thomasin McKenzie and Anya Taylor-Joy (whom I am a big fan of) were great and some fun mind-twisting scenery and visuals, though in the end felt it was fine as whole. Worthy of a watch, though. **3.5/5**

beyondthecineramadome
beyondthecineramadome
★ 2

Full review: <a>https://www.tinakakadelis.com/beyond-the-cinerama-dome/2021/12/28/for-a-dollar-name-a-woman-last-night-in-soho-review<a> The plot follows shy, ‘60s-aesthetic-loving Eloise (Thomasin McKenzie) as she leaves her small country home and heads to the big city of London to attend fashion school. After one bad night in the dorm, she decides to move into a room offered for rent by an older woman, Miss Collins (the late, great Diana Rigg). On her first night in the new room, Eloise dreams of Soho in the fabulous ’60s through the eyes of aspiring lounge singer Sandie (Anya Taylor-Joy). That first dream, in which a wide-eyed Eloise watches the confident Sandie secure an audition from Jack (Matt Smith), is a true marvel. The swapping between Eloise in her pajamas and Sandie in her flowy go-go dress as they twirl with Jack is a beautiful technical and choreographic achievement. The flawless re-creation of the flashy lights and neon signs of Soho in the ’60s deserves immense praise. Presented on its own, that first dream sequence is a delight.

Nathan
Nathan
★ 9

I found that Last Night in Soho took its sweet time getting me hooked, but as the first act was coming to a close, I was locked in. The movie constantly had me thinking what was to come next, trying to decipher what was the connection between the main characters were and why this was happening. There were scenes in this film that really had me on the edge of my seat, and I have not had that experience in a long time. I did not know much coming into the film, so I expected Anya Taylor-Joy to be the lead, but I was pleasantly surprised at the power performance that Thomasin McKenzie delivered. She really displayed the full range of emotion, showing shades of a shy timid and unsure girl to being a powerful and confident mistress of the night. But not only did these dueling personalities take center stage, but her ability to capture the horror and terror her visions continued to bring on. It was an amazing and I will definitely be tuning in to more of her films. I found the plot to be very good, on the surface it is somewhat simplistic, but it is delivered very well with each piece of the puzzle slowly being hand delivered by Edgar Wright. But by the third act, the twists are predictable, and the ending does not deliver as much as I would have liked. **Verdict:** _Excellent_

The Movie Mob
The Movie Mob
★ 5

**Last Night in Soho seemed like a terrifying innovative horror flick but didn’t deliver.** Last Night in Soho promised a completely original fresh new horror film from the brilliant mind of Edgar Wright. The trailers were unnerving, tense, and scary, but unfortunately, that was where the horror stayed. The sequences set in the past were interesting and well done but as the murder mystery began to unfurl, so did the movie. The twists weren’t satisfying, and the terror didn’t measure up to its promise. The creativity of Last Night in Soho had so much potential but fell short.

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