Film

Last Night in Soho

Name: Last Night in Soho
Genre: Horror, Mystery, Thriller
Released: 2021
Cast: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Rita Tushingham, Michael Ajao

A fashion student slips into 1960s Soho and befriends a glamorous singer—only to discover the decade's glittering surface conceals something sinister. Visually intoxicating and increasingly unsettling, it's a love letter to London's past that curdles into horror. For anyone who loves style, mystery, and the feeling of being lured into something darker than expected.

TMDb rating

3.6

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Suspiria1977

A dance student enters a gothic academy that's beautiful and suffocating by turns. Dario Argento's masterpiece shares Soho's obsession with style as a trap, and its visual language is unforgettable.

But It's deliberately artificial, bordering on operatic. If you want naturalistic horror, this isn't it. And it's genuinely disturbing.

Vertigo1958

Hitchcock's portrait of obsession, doubling, and a man haunted by an idealized woman. It has the same DNA as Soho: gorgeous, psychologically cruel, and endlessly rewatchable for what it reveals on the second pass.

But The pacing is glacial by modern standards. It demands patience and rewards it, but you have to be in the mood for that bargain.

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The wildcard

Something you would not have found on your own.

Possessor2020

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But It's visceral and disturbing in ways that go beyond psychological. If you're squeamish, or need distance between yourself and body horror, it will be difficult.

The Killing of a Sacred Deer2017

A thriller that treats style as storytelling—every colour, every cut, every pause is deliberate. It shares Soho's fascination with surfaces that hide rot, and maintains unbearable tension throughout.

But It's cold and methodical to the point of alienation. You're not meant to feel close to anyone. Some find that maddening.

The Phantom of the Opera1989

A lush, operatic gothic romance with a murderous underbelly. Like Soho, it's drunk on spectacle and atmosphere while building toward something genuinely unsettling. Visually ravishing.

But It leans hard into period melodrama. If you're allergic to grand gestures and romance, it won't work for you.

Repulsion1965

Catherine Deneuve in a London-set psychological unravelling. It's a masterclass in how to make a city feel like a trap, and in using visual style to externalize inner horror.

But It's bleak, claustrophobic, and offers no comfort. The descent never relents, which some find exhausting rather than gripping.

Crimson Peak2015

A gothic romance where every frame is a painting. Guillermo del Toro shares Soho's commitment to style as atmosphere, and its willingness to mix beauty with genuine dread.

But It's ornate to the point of excess. Plot takes a backseat to mood, which can feel slow or decorative depending on what you want.

The Neon Demon2016

A fashion-world descent into nightmare, all neon and mirrors and surfaces that conceal predation. It's visually rapturous and morally toxic, which is entirely the point.

But It's deliberately vapid and sometimes difficult to parse. It prioritizes how it looks and feels over narrative clarity, which frustrates some viewers.

Gone Girl2014

A thriller that builds from intimate betrayal into something operatic and horrifying. It shares Soho's interest in surfaces—the perfect marriage, the perfect life—as a lie, and in the unreliability of perspective.

But It's cynical and offers no one to root for. The ending divides people sharply on whether it's brilliant or bleak.