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…
High Rise, No Topo Do Poder, 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…
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…
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…
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…
Someone please shoot me in the face before I see another film as atrocious as this one.
I was actually looking forward to High-Rise, the latest offering from Ben Wheatley, who directed the marvelous A Field in England. Unfortunately, this turns out to be one of the messiest films of the year for me. Instead of being an interesting near-future mystery that it could have been, it goes down the exact same path as so many recent dystopian films have gone. This is essentially Snowpiercer, but in a tower. People divided by worth based on what floor they live on, division among the different factions in a power struggle, eventual inevitable chaos- all the major earmarks are here. Yet High-Rise tries…
Wheatley's glam isn't as precise a cutting tool as Ballard's crystalline language but as a gleefully poppy, selectively faithful surface reading of the text this is still a blast. Genius of the Portishead/ABBA cover is sadly negated by the stupid closing Thatcher speech, but this'll do.
"Right! Which one of you bastards is going to fuck me up the arse?"
People are going to be misunderstanding this for years.
Heck, I think even I'm misunderstanding it at the moment.
But it's so vivid a vision that I can't help but think that Wheatley knew exactly what he was doing with this mad, hot mess of a movie. Probably the riskiest thing mainstream audiences will see this decade.
Trying to review High-Rise is like trying to review films I watched while stoned. It's pretty much impossible because I remember so little about it, so few scenes stick out in my memory. It all just folds together into this mush of stuff that doesn't end up being anything of any substance.
Except I wasn't stoned while watching High-Rise. It just sucks.
Allegorical, satirical, and only partially enjoyable, Ben Wheatley's "High-Rise" is violent thriller whose story's lack of narrative ballast prevents the experience from reaching worthy highs. Starring Tom Hiddleston, the film is not without its strengths. It simply never adds up to anything of consequence.
Revolving around a multi-level apartment building whose concrete battlements hold a collection of interesting residents, "High-Rise" focuses on Hiddleston's medical man who leads the audience through day-to-day life in the building. That day-to-day life progresses from the typical to the strange as the building's residents begin to torment one another, and class differences lead to violence and disintegration of the community.
Wheatley develops a compelling premise but is unable to fill it with anything of narrative…
I wasn’t too mad about this. Engaging stuff at the start but by the end it completely lost me. I just didn’t care about the story or any of the characters. The cast is the best thing about it and there’s some good heavy hitters involved. I probably would give it another shot down the road some time.
docking the rating because it forced me to listen to margaret thatcher
How quickly humanity deteriorated into chaos
The way this film was shot and pieces together- amazing.
Tom Hiddleston- lovely as expected.
However this adaption rushed the decline of the tenants and if I didn’t read the novel, would’ve left me with a million questions.
And uber stylish adaptation that for as hard as it hits, it misses some of its power in style-flexing and atmoshpere building runntime. Nonetheless, an effective adaption as it leaves me curious for the source material and eager to read much like Rebecca did, later this year.
when I was a kid i learnt to swim in the swimming pool in this film
Some interesting shots in this film. The cast was decent, imagery and messages was a little on the nose for my tastes: having the social class system placed in a high rise building is a little dull. Some of the Mise-en-scene made up for this, however the themes and messages presented are ones spectators have seen hundreds of times. For some cool imagery and black comedy, it ticks some boxes though. Worth a watch.
I am a huge fan of the novel with the same name, so when I saw this movie for the first time I was very disappointed due to the massive inaccuracies. Major characters in the novel aren't present in the film, details about characters were heavily different, and major plot devices from the book are missing. Wilder is the only character that is truthful to the novel. Luke Evans gives an outstanding performance and carries this film. However, this adaptation is great when not comparing it to the book. If I hadn't read the book, this movie would easily be 3.5 stars, but because I have read it prior to viewing, I wouldn't recommend to people who love the book.
Nearly brilliant, completely mishandled.
some really well shot brutalist architecture in this film !
which was good because the grey concrete building was the most interesting character in high rise
Weird hoch zehn. Was für ein Trip. Visuell aber echt ein Augenschmaus. Und warum sieht Jeremy Irons seit 20 Jahren gleich aus?
Hard Bioshock vibes, and the more films I watch including societal collapse, the more excited I get for the next (and final) ten years of life in Britain.