In short, Edgar Wright's viscerally romanticized 1960's reimagining of London's exotic Soho scene paints an intoxicatingly lurid picture of uncensored glitz and glamour.
Often overloading the senses, Last Night In Soho faithfully portrays an era of unique cultural resonance, offering a stunning visual spectacle draped in an explosive color palette and dizzying psychedelics.
But behind its rich bohemian complexion and nostalgic fashion sense lies a gritty British underbelly whose psyche-inflicting horrors manifest in mind long after the curtain call.
Last Night In Soho teleports us back to the iconic '60s in spectacularly chic style. Yet, at its bone-chilling core, the film is essentially a grizzly ghost story.
Narratively, Last Night In Soho revolves around the retro-loving Eloise (Thomasin McKenzie), who, in hot pursuit of a fashion career, ventures into the big city to fulfill her dream.
Struggling to settle in and suffering from lonesome isolation, she is soon haunted by hallucinatory visions of the mysterious Sandie (Anya Taylor -Joy), a would-be vocalist wishing to hit the big time, who falls head of heals for dapper don of nightlife (Matt Smith).
In her unconscious state, Eloise steps foot into an ominous underworld, way beyond the dizzying lights and superficial technicolor of Soho's flashy carnival exterior.
With all the nightmarish persona of Polanski's Repulsion, Last Night In Soho is a nauseatingly hypnotic film, executed with impressive production values.
Expect plenty of thrills and chills, alongside a largely unpredictable narrative full of surprisingly impactful twists.
Unfortunately, the plot gets a bit bloated towards the closing chapter. Still, overall, Last Night In Soho delivers a deeply mesmerizing experience that relives a dazzlingly vibrant era in British culture while perhaps exposing the previously shady, sometimes licentious side of showbiz.
All in all, well worth our scary seal of approval.
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