“Last Night in Soho” is a genre-defying film with many different themes, so allow me to attempt to sum it up in a single sentence vintage announcer style: it’s a retroactive #MeToo revenge fantasy ghost story from the swinging 60s! With that out of the way, let me also say it’s quite enjoyable on many levels.

If you love the music and fashion of the 60s, London, or the two up-and-coming young actresses at the film’s center (Thomasin McKenzie of “Jojo Rabbit,” “Leave No Trace” and “Old” and Anya Taylor-Joy of “Thoroughbreds”, “Split” and “The Queen’s Gambit”), this movie is for you – at least the first half of it is. However, in high contrast, if you love slasher movies, ghost stories and creepy thrillers, the second half of the film may be more to your liking. If you are the rare audience-goer who crosses interests with both halves of this film – you’re in luck!

Soho is an area of London made infamous as the pinnacle of pop culture in the 60s and Ellie (McKenzie) is a young woman from the countryside obsessed with everything about that time and place. She is a country mouse thrown to the London wolves just starting college to become a fashion designer, but she is also a woman literally haunted by her past.

Raised by her “Gram” (Rita Tushingham, a famous face from 60s London IRL herself and cast here as a sort of Easter egg) because her mother killed herself long ago, Ellie has “the gift,” which turns out to more a curse than a blessing on the now seedy streets of Soho. She feels more out of place in her beloved London than expected until her gift leads her to cross paths with both Diana Rigg as a local house marm Ms. Collins (another 60s Easter egg) and Taylor-Joy’s character, Sandie, haunting the time-bending halls of her new apartment.

Sandie and Collins are cast against type like most of the actors in this film, including Matt Smith, no stranger to time travel himself as a former Dr. Who. This clever casting keeps us guessing in what turns out to be a bloody whodunnit that adeptly uses mirrors, glass, water, metal and other reflective surfaces to convey the multiplicity of time in addition to various personalities.

One of the less skillfully utilized aspects of “Soho” is the iconic 60s music itself, which is a surprise to this movie reviewer, because we last saw Director Edgar Wright with “Baby Driver” in 2017, and his innovative use of music in that film is widely revered. There are almost too many obscure 60s torch songs in this film to the point that in most cases, it distracts rather than enhances important scenes.

As you might expect, there is a considerable amount of singing and dancing in this “Soho,” but outside of those necessarily musical scenes, it seems Wright is trying too hard to cram as much music as possible into the film. Even in the cases where it’s obvious he picked songs with lyrics that are meant to complement the scene, again, it’s just a bit too heavy-handed.

I’ll watch anything with Taylor-Joy in it, but Rigg (“Avengers,” “Game of Thrones”) proves she is still the queen in a final performance worthy of capstoning her career, whether I personally care to be haunted by the ghosts of #metoos past or not.

Simonie Wilson, whose love of movies began as a child in the ’70s going to drive-ins with her family, has been a resident of the Northland for more than a decade. She is a board member of the Kansas City Film Critics Circle and a Women Film Critics Circle member. She can be reached online at www.facebook.com/RedVineReviewer.