Edgar Wright’s Last Night in Soho is quite the stylishly hypnotic horror. What works best are the gorgeous (not to mention trippy) throwback sequences. The 60’s laced soundtrack, the vibrant fashion, the neon exteriors and velvety interiors – it’s all a big cinematic chefs kiss. The performances also sparkle brightly, with Anya Taylor Joy and Thomasin McKenzie driving the film with their stellar mirrored depictions. It’s just a shame that their characters are woefully underwritten. Matt Smith might be the biggest highlight here, as he oozes enough dapper mystery to make Don Draper jealous. Things get a little more uneven in the plot department though. It’s ambitious, that’s for sure. And while the supernatural mystery is interesting throughout, there’s admittedly one too many predictable “twists” by the end. That ending is sure to divide audiences (as least it did in my screening). But, here’s the thing, Wright and Co clearly took chances. And while they don’t always work, it’s a commendable, never dull, effort. So, not perfect by any means, Last Night in Soho remains fashionably distinctive – more than I can say for 90% of the other horror films out there.