Last Christmas, the iconic Wham! song that has dominated the festive season for 35 years, finally becomes the title and basis for a new London set romantic-comedy. It’s quite rare to see a romantic-Christmas comedy on the big screen these days, as it is a market that Netflix consistently dominates. So with so many cheesy holiday titles at our fingertips, what will convince audiences to flock to Last Christmas? Thankfully the answer comes in the form of some grade-A talent permeates through every pore of this delightful rom-com. There are the songs of George Michael and Wham!, a script by Emma Thompson, the direction of Paul Feig, and a diverse cast headed by Emilia Clarke and Henry Golding, off the back of their insanely popular turns in Game of Thrones and Crazy Rich Asians respectively. It’s a winning combination of warmth and cheer that adds life to something that could have easily gone so awry.
Clarke plays Kate, a young aspiring performer in Central London. She mixes heavy nights of drinking and one night stands with working at a year-round Christmas shop in Covent Garden, owned by Santa (Michelle Yeoh). Finding it hard to get a secure grip on life, she bumps into Golding’s Tom. He gradually works his way into her affections, by getting her to appreciate unknown parts of the city and see life from a less selfish point of view. However, Tom is mysterious and hard to contact, claiming he keeps his phone locked away in a cupboard. The plot isn’t the strongest part of Last Christmas, but that’s where the team brings it up a few notches to truly make something magical.
Thompson’s script is filled with dry wit, sharp dialogue, and enough absurdity to force a ton of belly laughs. Add to that Feig’s flair for capturing comedic moments, and the first three quarters hurtle through at a mesmerising pace. Most impressive is the way Feig manages to bring out strong performances from Clarke and Yeoh in particular and shows off their comedic timing and pitch-perfect delivery. Their natural charisma and chemistry lead to some of the film’s best moments, whether it be heir sparkly back and forths, or their reactions to slightly surreal escapades.
Feig also captures London in a magical way without ever giving it a glossy romanticised feel. Whether it’s Central London or the streets of Brixton, Feig highlights the diversity of England’s capital. Diversity is also a huge theme throughout the film, and this is a rare and welcome instance of very few same-race relationships. The film does rely heavily on an obvious final act reveal, which also sees the tale descend into schmaltzy territory, but the goodwill it builds up early on manages to carry the story through these rockier moments.
Last Christmas uses its soundtrack in clever ways and avoids becoming a jukebox musical to sell an existing back catalogue. It’s pure sugary Christmas magic and will surely be the most you smile in the cinema this year. Clarke proves she can definitely break from her role as Mother of Dragons, while Golding supports well through emotional scenes that realistically tackle mental health issues. This Christmas you could certainly do worse than giving your heart to this soon to be essential annual viewing.
Last Christmas is released in cinemas on 15th November.
