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…
No Topo Do Poder, High Rise, 하이 라이즈, 하이라이즈
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…
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…
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…
Film assurdamente pazzesco, anche se c'è qualcosa che mi sfugge nella visione complessiva del film, spero che leggendo il libro riesca comprendere meglio il tutto
The best trailer for the worst movie. Such a crushing, incomprehensible disappointment.
The idea was simple, but the execution is muddled and convoluted to an infuriating degree. Yes the acting is good, yes the cinematography is beautiful, but a film this confusing and incoherent ultimately fails at making even its most basic points.
Weird, as one would expect from a Ben Wheatley film.
The best acting performance by far is that of Luke Evans. No contest.
I get all the criticism of materialist society and class and wealth hierarchy. But please can someone explain to me what all the smoking and drinking of Elisabeth Moss’ character while being 43 months pregnant is meant to symbolise?
stacys scene was superior i didn't pay attention to the rest
Der Titel: groß
Der Film: flach
High-Rise versucht große Kunst zu sein und scheitert auf voller Linie.
Aber wo fangen wir an?
Die Geschichte ist nicht wirklich nachvollziehbar; genau wie die meisten, wenn nicht sogar alle Figuren. Gefühlt gibt es außer inhaltslosen Dialogen, Partys, Sex, Gewalt und Plünderungen nichts an wirklicher Story oder an Pilotpoints.
Die Charaktere bleiben blass; vielleicht bis auf zwei oder drei, bei denen man noch etwas wie einen Hintergrund erkennen könnte. Figuren, die eingeführt werden, als seinen sie für den Verlauf der Handlung wichtig, wobei sie danach beinahe nie mehr vorkommen. Hiddleston ist vielleicht noch der größte Lichtblick des Films, mit seinem typischen Charme. Doch auch der Protagonist, sprich Hiddleston, kann sich nicht beweisen.
Now that I’ve procrastinated it, I now know that there was absolutely nothing to digest in the first place. I’m usually immediately on board with any kind of capitalist critique, but this film is so needlessly shallow and watered down. If you can discover any meaning beyond “capitalism’s a bit shite, innit?”, I genuinely envy you. The film was entertainingly bizarre and offbeat, partnered with some fantastic cinematography, but never lives up to the material’s potential.
I like the movie, but I really wish we got the Roeg version.
The narrative is weakened by skimping on the nasty, feral brutality of the novel, particularly when the the decline into this behaviour is represented largely through a brief montage, slicing the film into two clear "normal" and "dystopian" halves. I understand why they wouldn't want a film stuffed with rape, but certain plot points just don't hold as much weight when the majority of sex in back half of the film is of the hedonistic excess brand. But really, there's no excuse for not showing me a drop of blood when a character plummets 40 floors onto a car bonnet in slow motion.
why don’t they just leave? - because they already live in freedom
High Rise was some sort of Yorgos Lanthimos humor but put in a crazier and more lost story. Sometimes extremely brilliant and thought-stimulating , sometimes way too much (as if the director said "just do something strange. yeah sure, you can completely overact." during every take).
The little moments let me really think: the fight for paint - just to have it, the dialogue "we need to do something ... to throw a better party", the fruits getting rotten,...
AND THE CYBER-PUNK ABBA 'S.O.S' VERSION.
and for every set-designer out there who worked on that film - god bless you.