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…
It's quite ironic that Elizabeth Moss understands High-Rise enough to take a role in it, yet fails to see the comparison with the 'faith' she belongs to; Scientology. Think about it, the fantastical vision of one prejudiced, difficult man that capitalises on the ambitions, aspirations and elitist yearnings of the public who immerse themselves so deeply into his dream that they fail to see how much the rot has set in. Genuinely, think about it, because she clearly didn't.
JG Ballard's 1975 book High-Rise is one of my favourite novels. Often described since its publication as unfilmable, it's seen a plethora of film makers express an interest in tackling it, including no less a figure than Nic Roeg. But…
I wish this was better... Pretty much lost interest after things get properly out of control at about half way in.
Frequently bold, cinematic and spectacular to watch, 'High-Rise' lacks the coherency needed for a film this complex. There's clearly a fascinating story underneath everything, and the cast are doing a pretty fantastic job all round, but the whole piece feels like it's been put together by someone who understands it inside-out, as opposed to actually explaining it all to an audience who doesn't understand it. Maybe if you're a fan of the original book you'll get more out of this big-screen adaptation, or perhaps frequent viewings and analysis will improve it over time, but while 'High-Rise' looks nice, its sprawling story feels too unfocused to be truly coherent.
Watched this one before listening to the ENTER THE VOID podcast episode on the same. Although I enjoyed the hell out of some of Wheatley's other films (particularly A Field in England) I just haven't connected with his last couple (this and Free Fire) and I wonder if perhaps he's starting to get high on his own supply. I went in ready for a class-conscious fable a la Snowpiercer, and what I got was just sort of a tedious muddle with a passive protagonist in Hiddleston, and not much to latch onto otherwise.
Possibly one of the most bizarre films I've ever seen. I'm glad that Loki found himself in the Avengers films as now his other films are starting to get some more attention.
I almost lost myself many times watching High-Rise. Its unusual plot filled with an ocean of social allegories had a great visual sense that distracted me way too many times. Tom Hiddleston's brain surgeon character Dr. Robert Laing was lost in an eventual dystopian event within the confine of his apartment which never seemed to end. The turbulence was uneasy to watch. But if you could keep your stomach it and keep your mind clear through your watch, you may "get" what the film's messages may be. If you don't, well - that's going to suck.
Exceeded my expectations. Director has a great visual style (though I hated A Field in England). Good soundtrack and cast. Minor gripe over the final voice-over which seemed inserted for the sake of those who hadn't understood the message.
as a film it's almost great.
as an adaptation it get's almost everything wrong.
i absolutely love the book, it's an endlessly readable masterpiece about what happens when normality slips away and our darker more beast-like instincts come to light and take over.
and even though the film gets some of that right, while watching it i just felt like either Ben Wheatley and Amy Jump have a drastically different view on what the book is about and what it means or that they just fundementally misunderstood about 80% of the novel and didin't realize how wrong their interpitation of the source metarial was.
or maybe Wheatley and Jump were going for a more Stanley Kubrick The Shining route of…
unnecessary dog deaths
Really astonishing how little this fell off in my estimations between first and second viewing, considering I had worried that I'd initially overrated it. I think it gets a little stronger and easier to appreciate once you know what it is, which shouldn't be surprising considering how generically slippery both Ben Wheatley and J.G. Ballard often are. Like a lot of Ballard novels, there's a long-running argument about whether or not it's science fiction, an expected point of debate that Wheatley and Amy Jump mischievously sabotage by setting the whole thing in a parallel version of Britain in the 1970s.
The 1970s setting moves it into the realm of hauntology, or even a kind of Gothic secret history: the sense…