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…
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.
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…
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…
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…
Dear Ben Wheatley,
Holy shit, Wheatley. How do you fuck up J. G. Ballard so badly? You obviously understood the themes (class disparity, the dehumanizing nature of technology, thin veneer of "society") but you conveyed them in the most blisteringly backwards way possible. What makes the novel work is the slow steady decline into madness, the quiet accumulation of garbage, the rising tensions between the floors, the inexorable collapse of the environment (the newspaper floating on the pool's surface, a message from a ghost).
Yet, you bludgeon the viewer with a montage that elides the slow descent. You bludgeon the viewer with protracted scenes that pretend to care about the characters. Here's a tip: Ballard didn't flesh out his characters…
Tom Hiddleston is a actor you can’t take your eyes off of, whether he’s rocking it as a 007-ish spy on AMC’s The Night Manager or stealing the show out from under superheroes in The Avengers, he’s never bad. Just try resist watching him kill his way to the top in High-Rise, director Ben Wheatley’s mesmerizing adaptation of J.G. Ballard’s 1975 novel about runaway high-tech. Sometimes the film is heavier than you want it to be, but Wheatley and screenwriter Amy Jump (his wife) give Ballard’s class warfare parable with a truly daring approach that is like a jolt to the senses.
Hiddleston is Dr. Robert Laing. When we first see him he’s a bloody mess, a former physiologist roasting…
"Although the film is a big leap in budget for Wheatley, it is still not a big budget by any means and the production design and costumes are impressive. It was a wise decision to set the film firmly within the seventies. The debauched decadence of the Studio 54 style parties juxtaposed with the power cuts and piles of rubbish sacks really works within this context."
Πρωτότυπη ιδέα κι ενώ ξεκιναέι δυνατά και διασκεδαστικά καταλήγει αδικαιολόγητα βαρύ κ αργό. Το καστ όμως σε τραβάει. Για κάποιο (προφανή) λόγο μου θύμισε Dredd.
Not at all what I expected, but I adored it.
it's definitely a mess, but it's mostly a fun one. great score/soundtrack too.
The last act really stopped this from being a brilliant film for me, while the first half or so is mostly stunning, a gorgeous, almost Kubrickian style with an interesting idea of concentrating down societal issues with class divisions into a single strange building, the way the full blown anarchy develops isnt really as well told as it could have been, and then it just keeps beating that drum over and over and over without having anything new to say about it, so the end fails to have much weight to it.
I love Wheatleys jet black comedy throughout though, Hiddleston is fantastic, suave but slippery, a man able to walk between the two worlds but doesnt belong to either.…
What would people do if society collapsed? How would people act if they are only their paychecks and the material things they own? If everything that you thought was sustainable came to a stand still and everything was put into the dark ages, what would happen? This is something that’s been personified in many films but I don’t think any do it as well as High-Rise.
I rewatched it and now I have a new favorite film.
Perfect social commentary, clever script, beautifully shot, precisely directed and of course great acting all around.
Especially the scene about Huddleston not being able to remember where he parked his car. Genius.
It all just worked to me.
From that opening shot we…
I think someone put acid in my food because I still have no idea what I just watched. A+ for Tom Hiddleston though.
yeah what the fuck
Per Axel Hagne 192 films
Most of these films don't need an introduction. I want to create a list for the community where all the…