Nightmare Fuel / Last Night in Soho

• The first thing Eloise deals with after arriving in London is an extremely creepy old cab driver who hits on her and outright says that he could be her first stalker. Eloise gets out of the cab early and ends up hiding in a convenience store until he leaves. Mundane horror at its worst.
• Likewise, the fact that the seemingly genial Jack is revealed to be a violent, abusive pimp. The scene where Sandie tries to leave the club while Jack follows her yelling abuse features kaleidoscopic glimpses of various disturbing events (other dancers being coerced into sex, a woman using a heroin syringe with a tourniquet on her arm, a woman who has fallen unconscious or dead), with Jack's voice being blended with the background noise to create a disorienting cacophony.
• The design of the ghosts—they're grey figures with blurred, flickering faces and hollow eyes that look like something from a Francis Bacon painting. A particularly unsettling scene is one where Eloise wakes up from a dream and leaves her bedroom...except the pacing of the shot is dragged out for long enough to establish a sense of unease, culminating in Eloise finally turning to head back into her bedroom, and being confronted by a room full of ghosts staring at her. Until their final appearance, they are also frequently shown as mouthless, subtly indicating that they have been silenced. Her vision of Sandie (seemingly) being murdered while Jack rapes her also evokes a real-life traumatic flashback, with John terrified that he's hurt her in some way while Eloise reacts in utter horror to the brutal scene she witnesses.
• The Jump Scare of Eloise seeing Sandie standing in front of her covered in blood, as well as her Sanity Slippage as she flees through London, seeing ghosts following her. The Silver-Haired Gentleman being hit by a car is another sudden scare that comes out of nowhere.
• More understated than most, but the end credits of the film feature static shots of street corners in London while "Last Night in Soho" by Dave Dee, Dozy, Beaky, Mick & Tich plays in the background. Not that unsettling, until you think about what Ms. Collins says earlier in the film - "This is London. Someone has died in every room in every building and on every street corner in the city." The quiet, dim shots of London at night are implying, subtly, that every shot you see is the site of someone's death. Suddenly, that old pop song doesn't seem quite so cheery.

---