Leave the real world behind
Life for the residents of a tower block begins to run out of control.
Life for the residents of a tower block begins to run out of control.
Tom Hiddleston Sienna Miller Jeremy Irons Luke Evans Elisabeth Moss Reece Shearsmith Peter Ferdinando Daniel Renton Skinner James Purefoy Stacy Martin Keeley Hawes Sienna Guillory Augustus Prew Julia Deakin Tony Way Leila Mimmack Bill Paterson Enzo Cilenti Louis Suc Emilia Jones Neil Maskell Alexandra Weaver Victoria Wicks Joseph Harmon Dylan Edwards Toby Williams Siobhán O'Kelly Maggie Cronin Patrick Fitzsymons Show All…
An intoxicating parable driven by glamour and insanity. Director Ben Wheatley has never been known for conventionality, but High-Rise throws the rule book off of the 30th floor without a hint of remorse and a sly grin on its face. Essentially a toxic, wonky mix of Tati and Gilliam, it shines across the screen like a sunny satirical nightmare, but the punch line is delivered right away and nobody's laughing. Its structure, built out of aimless encounters and sudden musical flourishes (the soundtrack and sound design is spine-tingling), doesn't allow for typical social class tension, but the sublime editing induces it onto the viewer; a flurried waltz of dogs and glass and penises and wine unfolding like a glitzy…
the most exciting film I've seen at #TIFF15. old school, bonkers & brilliant, the Snowpiercer comparisons only cheapen it. and every time i thought i had a handle on this, it wrangled out of my grasp... but happy to get all knotted up with it again.
As we have gradually and suddenly settled into our current dystopian future, around us unseen lay the corpses of discarded potential dystopias, lost as the hazy outlines cease to blur and come into sharper, solid focus. Ben Wheatley & Amy Jump's High-rise is one such lost possible dystopia imagined from countless back-of-glossy-heavyweight-magazine full-page adverts and album covers especially prized for their suitability as cocaine runways. It is out of the partial emergence and entire deaths of these potential futures that our own comes to be. Out of the demise of Rococo Disco Brutalism comes Thatcherite Iron-Clad Corporate Neo-Feudalism. That there was a Technocratic Vision of paternalistic rational planning, of a civilization engineered according to the latest passing totalitarianism, the 'capitalism of…
As much as I like to poke fun at all of the people who walk out of films in Aberdeen, I honestly don't blame the five people who left this one. High-Rise has such a detestable set-up that it practically spits on its audience members as it violently delves into the worst aspects of Thatcherism, class divide, anarchy, and just about everything that’s bad about society.
The strange thing about adapting this particular novel is that it feels like it exists in a time capsule, one that doesn’t take kindly to being opened up in 2016. High-Rise is a story that’s so heavy on its socio-political imagery that it seems like its narrative was completely disregarded along the way and…
There's some kind of mind control at work here. There has to be.
It's the only explanation. Because with the exception of A Field In England, I've pretty much hated every one of Ben Wheatley's films. And yet I still keep giving him chances. I even gave Kill List a second chance, for fuck's sake.
Add to that the fact that I was really looking forward to High-Rise for some reason, and I don't know if there can be any other explanation, really. But this really has got to be it. The end of our relationship. Because this film really is Wheatley's career in a nutshell. A whole lot of complete arseholes being horrible to each other, with their motivations…
TIFF 2015 film # 12
Reason for pick - because CindyT told Lise we should watch it, despite the fact that Lise hated A Field In England. This should be good. (pssst, Cindy ... watch your back .. Lise is in a mood, and it's not a good mood ... she's convinced herself that this was your revenge for A Strange Little Cat )
Not having seen anything by the director, particularly the much adored and much maligned A Field In England, I was intrigued.
I love .. LOVE .. dystopian, and High Rise just seemed to fit the bill perfectly. I wasn't disappointed.
Director Ben Wheatley realized a past in much the same way that Terry Gilliam realized a…
Started well, but got gradually less interesting. Reached peak montage about two thirds of the way in.
This movie is so rad tonally, damn. When you hear about it and sort of get the gist of what it is, weird British movie, class warfare, rated R, you sort of imagine this movie that kinda revels in violence and where things escalate and then explode....You might even imagine something akin to Snowpiercer. Whatever you think it is, High Rise probably doesn't end up being that.
The movie's treatment of violence is really interesting, sometimes it's a focus, sometimes it's not really, sometimes it's just implied. The movie just moves from thing to thing very consistently, hardly ever reaching an "explosion" point at all. It all comes together really cohesively. It's like some weird take on The Lobster, but…
Pure animal savagery produced by capitalism through literal, physical, class warfare. The montages of excess and violence are so ridiculous and so bleak that Wheatley's venomous humor slithers through quite naturally and more comfortably than any of his previous work.
In fact, this is by far his most visually and thematically accomplished film, so gorgeously insane and so jugular-rippingly-critical that I think Wheatley's cocoon burst and his potential was realized.
I kept catching myself thinking, "Why are these people still here? The building is on fire, people are dying. Why are they letting this happen?"
This was so colorful
Production Values: ★★★
☆☆☆ = Bad
★☆☆ = OK
★★☆ = Good
★★★ = Great
Visivamente stilosissimo ma poco concreto quando si tratta di badare al sodo. Che Ben Wheatley fosse un pò avverso alle trame lineari si era capito ma il film sembra non decollare mai e le bellissime immagini da sole non possono bastare.
Someone tell Ben Wheatley to be more careful with his eye. His pictures are straight-up murderous.
I really wanted to like this one, but no. There's some really great stuff in her, but as a whole the movie is scattershot and rambly. I would think a movie like this would have a tension, or sense of dread, but that's absent. And when it seems like the film might be going for 'dark comedy', it's never that funny.
I like Wheatley films a lot, but his previous work has always been focused on small groups. This film would have benefitted from a tighter focus as well.
This is an intensely frustrating film. When it comes to shot composition, editing, lighting, sound design, stuff like that, Wheatley et al are scoring buckets constantly, but what is that technical polish in service of? An incredibly shallow-but not even knowingly shallow like Hobo With A Shotgun-festival of sex, violence, and sexual violence glossed over with a patina of political awareness. It's a shame, too, because there are fantastically interesting elements to this story that are cast to the margins in order to focus on Tom Hiddleston cumming and everyone else indulging in their worst impulses. It's not even interesting to watch Hiddleston cum, he's got a face that says "I have very complex opinions on why the skull of…