“Last Night in Soho,” while visually impressive with some fantastic direction behind it, fails to have a compelling script. Despite a back catalog of amazing films, English film director Edgar Wright disappoints with his latest movie.

“Last Night in Soho” is the latest film from Wright, the acclaimed director of The Three Flavours Cornetto trilogy, “Scott Pilgrim vs. the World” and “Baby Driver.” Wright, along with Krysty Wilson-Cairns, wrote the film, and it stars Thomasin McKenzie and Anya Taylor-Joy. The film follows Eloise (McKenzie), an aspiring fashion designer from a small town who leaves the countryside to attend the University of Arts London. At night, she finds herself mysteriously able to slip into the dazzling world of 1960s Soho, where she finds herself connecting to Sandie (Taylor-Joy), an aspiring singer. Slowly, the dark underbelly of show business starts to reveal itself, with terrifying consequences to both Eloise and Sandie.

There were a few particularly exceptional aspects about “Last Night in Soho,” the most prevalent being the cinematography, courtesy of Chung-hoon Chung. I have always been a fan of his work, and this film is no exception. His eye for framing and color is incredibly apparent, and as such, this movie is a treat to look at. The directing of the scenes adds to the visual flair, with a number of impressively choreographed moments where one actor switches places with another but ducks slightly out of frame or disappears behind an object, obscuring the audience’s view.

I also generally liked the acting in this movie. McKenzie does a great job of pulling off a sheepish girl moving to a big city, and Taylor-Joy’s seductive confidence is a brilliant counterpoint to that. I was initially worried that Matt Smith, best known for his role as the Eleventh Doctor, would balk to the pressure of typecasting as a goofy, lovable character, but I was proven dead wrong by his incredibly intimidating, and at times even frightening, performance.

As good as some of the outward presentation of “Last Night in Soho” is, there is one giant, glaring problem with the whole affair. Namely that the script, the actual writing of the movie, sucks. The film is attempting to be a horror mystery, but it completely falls on its face in both regards. The horror elements of this film, like the grey ghost people, were incredibly lame, and the mystery elements were completely laughable by virtue of how predictable every mystery in this film was. If you have even the most basic grasp of storytelling, I guarantee you will sniff out every red herring the film attempts to throw at you and will predict the big reveal regarding the main villain of the movie.

Beyond the subpar script, the biggest disappointment for me was that Wright’s name is attached to the project in the first place. His catalog of films before this one is universally high octane and frenetic, but “Last Night in Soho” feels like anyone could have made it. Those previous films have amazing editing and pacing with brilliant pieces of reincorporation, and this movie is missing most of that. I am not saying that he should not be allowed to experiment, but I am saying that “Last Night in Soho” does not play to Wright’s strengths as a writer or a director. To me, that is the film’s biggest crime, especially from a director whose flair and style I typically love.

In conclusion, despite some amazing pieces of visual presentation, “Last Night in Soho” ultimately feels forgettable. I would give it a 5/10, and I recommend that instead of watching this, you watch any of Wright’s other movies, particularly The Three Flavours Cornetto trilogy consisting of “Shaun of the Dead,” “Hot Fuzz” and “The World’s End.” All three are fantastic and entertaining films that, despite being rather comedic in tone, are still great horror, action and sci-fi movies, respectively.