Top 5 Best Movies Like Last Night in Soho (Ranked & Where to Stream)

Nicolas Winding Refn strips the Los Angeles high-fashion machine down to its predatory marrow in this glacial, hyper-stylized psychological shocker. Elle Fanning commands the screen as Jesse, an uncorrupted sixteen-year-old runaway whose natural radiance ignites violent jealousy among hollowed-out models and industry vultures. Natasha Braier’s razor-sharp cinematography and Cliff Martinez’s thumping synth score turn pristine runway sets and fleabag motels into sterile slaughterhouses of consumer vanity. If you were hooked by the way a wide-eyed fashion student got swallowed by London's dark underbelly, Refn’s blood-slicked runway fable delivers the exact brand of fashion-world rot and sensory overload found in movies like Last Night in Soho.

David Lynch’s 1986 landmark mystery cracks open small-town idyllic bliss when college student Jeffrey Beaumont discovers a severed human ear rotting in an overgrown meadow. His amateur investigation leads straight to Dorothy Vallens (Isabella Rossellini), a bruised torch singer trapped in the sadomasochistic orbit of Frank Booth, played with unhinged malice by Dennis Hopper. Lynch drapes the narrative in vintage fifties pop songs, cobalt velvet, and pitch-black voyeurism that exposes suburban depravity. It strikes the identical chord of retro romanticism stripped raw, mirroring the predatory sexual violence festering underneath glossy vintage showbiz that unravels throughout Last Night in Soho.

David Robert Mitchell crafts an unbearable sense of atmospheric dread through deliberate, 360-degree pan shots and Disasterpeace’s droning electronic score. Maika Monroe anchors the film as Jay, an ordinary Michigan suburbanite pursued by an inexorable, shape-shifting entity that marches toward its target at a relentless walking pace. The setting feels unstuck in time, pairing tube televisions and clamshell e-readers to cultivate a dreamlike vulnerability where safety never materializes. The film excels at turning ordinary public corridors into inescapable stalking grounds, matching the escalating panic and phantom-haunted paranoia that made the spectral pursuit in Last Night in Soho so deeply disorienting.

James Wan pushes supernatural horror into pulpy, complex territory by constructing an intricate narrative loop where the spirit realm directly intersects with past tragedies. While the Lambert family reels from their previous possession ordeal, Patrick Wilson pulls double duty playing a fracturing father whose body harbors an entity shaped by mid-century domestic abuse. Wan utilizes garish lighting, theatrical parlor tricks, and synchronized time-slipping investigations to build relentless momentum. For audiences fascinated by the mechanics of a modern protagonist watching historical crimes unfold through spectral visions, this sequel delivers that same eerie bridge across decades central to Last Night in Soho.

David F. Sandberg expands his viral short into an efficient creature feature centered on a shadow-dwelling entity named Diana who can only exist in total darkness. Teresa Palmer plays Rebecca, a fiercely independent young woman fighting to protect her younger brother from a malevolent figure tethered to their clinically depressed mother. Sandberg plays brilliantly with practical lighting gimmicks—from sputtering neon storefronts to emergency flares—making shadows inherently lethal while keeping the narrative engine lean. Beyond the sharp jump scares, Diana functions as unresolved generational trauma that refuses to stay buried, echoing the vengeful, lingering phantoms haunting the London boarding house in Last Night in Soho.