Sometimes they're in what they're watching, getting into Yakuza fights, ninja battles, or even training for a contemporary army and finding themselves sent to war in Manchuria and elsewhere. Sometimes they're commenting from their seats.
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The setting is a movie theatre on its last evening as a group of friends attend and drift in and out of the film they're watching. He outdid himself with his final film, a three-hour extravaganza and imaginary outburst. LABYRINTH OF CINEMA: The late Japanese director Nobuhiko Obayashi dealt more than once with his country's wartime history. (International Village, Marine Gateway, and suburban theatres.) 3½ out of 5 Two other old hands, Rita Tushingham and Terrence Stamp, also have key roles and add to the retro fun. It ends in a swirl of impressions and an explanation, of sorts, by the landlady (Diana Rigg, in her last role). What the heck is going on? Two timelines are in play. The men in the strip club try to come on to her, and at home in her flat, she may have witnessed a murder. He turns out to be not at all benevolent.
Eloise auditions by singing Downtown and then asks an admirer (Matt Smith, a former Doctor Who) to be her manager. Sandie aspires to be the next Cilla Black. She draws Eloise to parties and to those gentlemen's strip clubs we used to read about. She starts to imagine herself as the glamorous and playful blond Sandie (Anya Taylor-Joy), but is she real or just an image in the mirror? She seems to evolve and be both. Eloise (Thomasin McKenzie) comes to London from Cornwall to learn fashion design. It starts as a typical "small-town girl moves to the big city" story. What exactly is it reliving? What does it amount to? There's so much fantasy in this film by Edgar Wright you'll probably find yourself pondering those questions. But you might come out of it just a bit perplexed. LAST NIGHT IN SOHO: If you remember the Swinging ’60s and the Carnaby Street style of the British Invasion, you'll enjoy this frolic that takes you back to those times.