Young provincial Eloise is crazy about the 1960s. She lived all her life with her grandmother, but now she is going to study in London as a fashion designer. Unable to adapt to the noisy life in the hostel, the girl moves to a more familiar environment – she rents a room that has not seen repairs for a long time from an elderly mistress. On the very first night in a new place, Eloise sees either a very realistic dream, or is really transferred to her favorite era in the form of a spectacular blonde who sets out to conquer the night Soho.

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To be honest, the first half hour of watching “Last Night in Soho” evoked a fierce feeling of WTF, since the movie does not work in any of the given genre planes: for horror it has too rough, primitive and not at all scary techniques, for drama it is overly grotesque and caricatured, and the social “little” agenda is fat, there is simply nowhere else to go. However, at the same time, a strange doubt did not leave – well, the director of “Zombie named Sean”, “Baby Driver” and “Scott Pilgrim” could not have been so “fucked up” so as not to notice how much the dearest Thomasin Mackenzie replays that horror film stubbornly fails to add up, and the script is full of outrageously banal and caricatured twists. And then the wording of the concept of camp style popped up in my head, after which everything fell into place.

Indeed, Wright follows the definition of camp as literally as if he were taking a Wikipedia line as a basis: “Camp is characterized by increased theatricality, love of artificiality, exaggeration to the point of grotesque, some vulgarity, aestheticism, an antinomic combination of play and seriousness. Camp’s aesthetics is an example of how the classic categories of the sublime and the base, the beautiful and the ugly acquire new content in postmodern culture: if high art presupposes beauty and value, then camp needs, first of all, courage, liveliness and dynamics. While modern horror cinema is divided into the categories of “smart” and “conservative”, practicing either meditative language or homage to the classics, Wright goes further and creates his own version of respect for the genre cinema of his favorite era – an infantile, toy-cartoon extravaganza in every respect, emphasizing solely on the audiovisual solution and mocking any manifestation of seriousness, although the topics covered in it are by no means conducive to laughter.

Confessing his love to a lot of British films, from the work of Michael Powell and Roman Polanski to Nicholas Roeg, Wright does not openly work with other people’s techniques, as Peter Strickland did (his “Little Red Dress” more often came to mind while watching , rather than “Revulsion” or “Don’t Look Now”), he rather hints to the viewer what paintings inspired him to create his own offspring. His main instrument here is a virtuoso staged choreography, turning almost any screen action into a dance movement, when the grotesque seizures of Eloise rushing around neon London flow into Sandy’s musical numbers and back. Here Wright uses the main principle of Eurohorror, on which almost all the best examples of jallo are built (let Wright, unlike them, not be too frightening with this) – the main thing is not the plot and a clearly built relationship of events with iron logic, but a series of skillfully staged scenes that set atmosphere. Superb cinematographer Jung Jong-hoon, who shot Oldboy, The Handmaid and It, is incredibly virtuoso with a camera that captures a dizzying kaleidoscope of colorful images, offering a look at the world of the metropolis through the optics of an inexperienced young girl with wide eyes, exaggerated, unnatural , which evokes nostalgic sensations and is filled with its skeletons not only in closets.

It is curious that for all the general conventionality of what is happening, the movie is very interesting to watch, even if you want to meet every scenario turn with a grin – especially the finale, which amusingly echoes the abundance of man-hating feminist films, caricatured to match everything else. However, the picture cannot be called a multi-colored dummy either – the “Black Swan” in half with “Suspiria” did not work out of it, of course, but at certain levels it works well, for example, as a collective image of the insidiously seductive Big City, promising a beautiful life, while forgetting to mention the price required for a fairy tale, and also debunks the myth of the Golden Age, when it seems to romantic natures that they were simply born in the wrong era, believing that everything would be perfect and cloudless in their favorite historical period. But all these chips, as well as the pleasure of the film, can only be obtained if the director’s vision of his “inner empire” is accepted, otherwise the movie will not cause you anything but persistent irritation and a desire to turn it off without even watching the middle.

Info Blu-ray
Video
Codec: HEVC / H.265 (58.4 Mb/s)
Resolution: Upscaled 4K (2160p)
HDR: Dolby Vision, HDR10
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1

Audio
English: DTS-HD Master Audio 7.1 (48kHz, 24-bit)
English: Dolby TrueHD 7.1 (48kHz, 24-bit)
English: Dolby Digital 5.1
English: Dolby Digital 2.0
Spanish: Dolby Digital Plus 7.1
French: Dolby Digital 5.1 (448 kbps)

Subtitles
English SDH, French, Spanish.