High Rise entertainment from SUPERIOR DIRECTOR Ben Wheatley (by rich3491)
****CONTAINS SPOILERS*****First off for a review of a movie so absurd but wonderful as thisi had no idea where to start.WARNING SPOILERS BELOW WARNING SPOILERS BELOWI may as well just end, as the movie may have made you feel too. Especially after wanting to dance along with hiddleston and the posh tosh to Portisheads SOS Abba cover A movie which left me short for words A movie you need to see, whoever you are, SPOILER Especially a smoker ; Superb all round as at the times you felt it was going nowhere BAM right in the smacker
Disturbing, Insane, Mind-Bending, Real and a Guilty Pleasure! (by laufeyson-64475)
This movie is not for everyone. I'm sure it is also not intended to be. I'm certain that you have to be a realist to understand the message in the movie not even a pessimist! , as it shows human psychology very well - that somehow everyone keeps a beast within oneself. Some manage to tame it, some unleash it with appalling consequences. The movie is based on the dystopian eponymous novel by J.G. Ballard. I don't think that it's a fiction which shows the far future. I can already sense the human mania today. Greed, jealousy, racism, yearning for attention and fame...and many <more>
other quirky notions are highly present, not because of high-rise buildings, as it was something new in the 70s, but because of the social media in general. I've witnessed many moments, where someone totally went bonkers because his WLAN got disconnected. Does this sound familiar to anyone?First of all, a huge thumbs up to Laurie Rose for the sublime cinematography. I think the most prominent reason why this movie gets so much attention is because of his craftsmanship. The second aspect definitely is the awesome cast. When you have Jeremy Irons, Tom Hiddleston, James Purefoy, and Keeley Hawes, then you can be sure that even if the movie is not good, they will still own the scenes they are in! For me, the script is shaggy, as it has plot holes, such as the intentions of all the people and their obsessions are unclear and why they can't leave the high-rise, why no police comes for investigations, etc..etc. The 2nd half is too long, the editing is odd, some scenes could have been longer, some must've been shorter. The ending is abrupt without any clear conclusion, nor does the last track suit the ending. The movie could've definitely been better with a more profound focus on the characters and the editing of the movie.Luke Evans surprised me a lot in his vicious supporting role as Richard Wilder , as he shines a lot through it and I really think that instead of romantic and passive lead roles, he should do more powerful villain roles or comedies. He can really act, which I couldn't see in his mediocre big-budget movies. I'm also quite happy having watched Tom Hiddleston in a unique performance after a truly awfully directed and scripted movie Crimson Peak where he is still excellent alongside Jessica Chastain . I also think that although Hiddleston's role here is a slightly passive one, it is not that composed and sedate as his Adam in Jim Jarmusch's Only Lovers Left Alive which movie I also loved . If I hadn't known him as Loki from the Thor franchise films, I would've definitely looked his name up and watched all his movies after watching him in High-Rise, because he exhibits a neurotic side of himself with his intense acting as Dr.Laing, who is unconcerned, immoral, yet panicked, and amiable. Although Tom shows a very different side of himself in this movie, I can sense his real self in the character of Laing. Giving the impression of a calm and sane man, he ends up being the most insane. If you want to watch this movie, you should be warned that it is not animal-friendly with lots of violence concerning humans and animals. It doesn't actually deserve a 10/10, what I've given it, but I really love mindfuck movies psychological thrillers/horrors , and I enjoyed the performances in it a lot. It didn't give me the feeling of an indie film, or rather of a low-budget film, as it is rich and colourful in many aspects. That's why I want to see more stuff like that and want people to support such films ; Well done, Ben Wheatley!
High-Rise: it ain't easy to film madness. (by niutta-enrico)
Cinematographic good taste at its maximum level: from the musical score please note beautiful Clint Mansell's versions of Abba's 'SOS' and Bunessan/Cat Stevens' 'Morning has Broken' , to the incomparable acting of the whole cast or the incredibly appropriate Art Direction.This film is intended to last, no matter its immediate success: in any case it will represent a landmark with whom filmmakers will have to confront.IMDb classifies it as a 'Drama' but is not. Movies like this one should have a different label, an apposite one, to prevent people getting <more>
deceived and then possibly disappointed. I'd suggest 'Abstract' so that those who don't like this kind of art could easily avoid it but of course is not up to me to say any of this. It ain't easy to film madness.
My first taste of this year's BFI London Film Festival was Ben Wheatley's High-Rise, a film based on the 1975 novel of the same name by J.G. Ballard. High-Rise is one of the more bizarre films you could wish to see but its perfect blend of out-there characters and devilish humour make it one of the most mesmerising films of the last few years.In 1975 London, Dr Robert Laing Tom Hiddleston is a young doctor seduced by the lifestyle in a high-rise, created by Anthony Royal Jeremy Irons as an isolated community cut off from the rest of society.Laing meets many of the high-rise's <more>
residents and soon realises that normality isn't something easy to find on any of the floors. One of the residents, Richard Wilder Luke Evans , who works as a documentary filmmaker, takes it upon himself to expose the class injustices that come as a way of life in the high-rise, causing a dangerous social situation to arise and social groups breaking up into violent tribes.Believe it or not, High-Rise is the first Ben Wheatley film I have seen however, if this is anything to go by, I will need to check out the rest of his filmography right away. Wheatley has that rare quality as a filmmaker to make a film feel unique within its genre, with High- Rise being quite unlike many thrillers I've ever seen.The film is brilliantly written by Amy Jump, a long time collaborator with Wheatley, with the twisted characters clashing throughout with the equally twisted screenplay devilishly weaving its way from floor to floor. The social commentary that both the book and film delves into regarding the developments in technology warping the human psyche is such an interesting aspect of the story and one that resonates very loud and clear in today's world.The performances in High-Rise play a massive part in making it such an engrossing watch. Each and every one of the actors delves right into the psyche of their respective character and look like they're having an absolute blast taking them on such a downward spiral. Tom Hiddleston just oozes class and yet again delivers a fine performance, though for me, the most impressive performance comes from Luke Evans as the mentally tortured Wilder. The film is also shot incredibly well, with Mark Tildesley's production design being brought to life through some wonderful cinematography from another long time collaborator with Wheatley, Laurie Rose. Clint Mansell's menacing score really does bring that sense of impending chaos to the fore and accompanies the film's visuals very effectively.Of course, with any film as bonkers as High-Rise, comes the chance that audiences may feel alienated from the plot and characters however, if you are willing to switch your mind to escape mode, High-Rise may prove as captivating to you as it was to me.
Very valid piece of art! Not for casual entertainment (by Bardilfula)
Just saw High-Rise. Wow. It was everything I was excited for. What a trip! My dad agreed to watch it with me. He was in complete neutral shock ahaha. I'm STILL trying to wrap my head around it. Easier for me since I read the book and the movie stayed pretty true to it. It was super refreshing to see a movie in 2016 less than a year old that was made for the sake of art rather than mindless entertainment and money. The reason why this movie has such mixed reviews is because it wasn't made to be idly enjoyed. It was critical. It was offensive. It spat a scary possible truth. It was <more>
ugly. It was gloriously out of control. This film is definitely not for casual movie watchers or anything below. It was visually very pleasing. beautiful cinematography. Every shot looks like it could be the fuel of a wonderful painting. Fantastic color schemes. It was very neat to see the clean, rich and futuristic, concrete, geometric and controlled environment that of the high-rise become trashed by the primitive nature its tenants fall victim too. The hierarchy and classism shone brightly even through all the short-term- fix chaos. The lower floors were hell, but the top floor was a misleadingly lavish purgatory. The acting was great from everyone! Tom Hiddleston's Laing was charmingly emotionally detached from his surroundings, making him the least expected to finally flip. Tom was cool, comfortable to watch, and confident in his performance. He made Laing relatable. Luke Evans' Richard Wilder was massive! Nearly unrecognizable with his 70′s getup, he dominated every scene he was in with full force and testosterone drenched fury. Luke successfully pushed the envelope exploring his character, making him one of the most colorful in the entire story. By the end, you realize this hell raiser was ultimately the sanest man in the building. Jeremy Irons' Anthony Royal was calmly intimidating, almost God like; being the architect of the High-Rise and realizing the role he plays in all of his tenants lives, but also showed a humble and frail side. Elisabeth Moss and notably Sienna Miller also followed through with their performances. Elisabeth's Helen was rightly washed up and pitiful just like her character is in the story. Sienna's Charlotte was vivacious, lusty, and despicably likable. Both women helped tie everyone's individual stories together. Overall, the film was a huge, glorified metaphor about how Humans are ultimately still nothing more than animals that still apply to basic biology. It just proves no matter how privileged a human you are, you are still mortal and just as low as anyone else when you are stripped of power over your surroundings. But it also raises the question of why didn't anyone just leave the High-Rise? Well, what would YOU do if you lived in a spontaneous, lawless, high-rise where you could do anything to you, anyone else, or anything that you wanted? Wouldn't you give into your fantasies? Wouldn't it be worth the madness around you to live everyday doing whatever the hell you wanted? Drugs, sex, taking what you wanted for free, finally being able to get even with the people you don't agree with. The tenants of the High-Rise became blindly comfortable and addicted to the disorder, that they simply chose not to leave I think. The film was very thought provoking and profoundly cringeworthy, and really makes you wonder about just how good and control of themselves humans really are. A topia could never exist; if life was perfect, all it would take to flip its world upside down is a few flickering lights. Highly recommend this film to anyone who appreciates ART!
A friend invited me to see this, and I hadn't heard of it I don't think it's getting a very wide release in the US so I came on IMDb to look it up. The reviews, as you may have noticed, are not very promising. Some reviewers say that people walked out at their theater, they say the latter two-thirds of the film are just a bunch of meaningless violence, and the most common complaint is that the plot doesn't make sense; reviewers ask over and over 'why don't the characters just leave the building?' Based on these reviews, I figured I was in for two hours of tedious <more>
splatterporn and psychological implausibility. I knew we wouldn't walk out, since my friend has willingly watched 'The Room' 2003 multiple times, and I have only walked out of a movie once in my life 'Man Of Steel' 2013 , when my date got motion-sickness , so I just resigned myself to a bad time and thought 'Well, it has Tom Hiddleston, and they do say the art direction is top-notch, and it's a matinée, what the hell'.For once pessimism paid off, and I had that rarest of movie-going experiences - the Pleasant Surprise. And not a pleasant surprise like 'that wasn't AS awful as it could have been', but a pleasant surprise like 'I am SO glad I ignored the reviews!' There was no splatterporn, and I'm prepared to argue that there was no psychological implausibility - for a very specific reason.If you come into this movie expecting a thriller or a disaster flick, then you're going to feel like you went to see a reboot of 'The Towering Inferno' where the special effects team forgot to add the fire. There's no wrong way to watch a movie, but judging by some other reviews, that would be an unsatisfying way to watch this one. But because I had read all of those other reviews, I knew I was looking for an allegory, and it wasn't hard to spot. Please sub in the words "a capitalist society" wherever you see "the high-rise" in the paragraphs below: People buy in to "the high-rise". They desperately want to move up in "the high-rise" and they attempt to do so in many degrading ways. Those at the top of "the high-rise" shamelessly use those who are lower down, even if they personally like them. Even people on equal levels in "the high-rise" come to view each other primarily and inappropriately as things. To men, women become commodities, while to women in a scene where you can practically hear Tom Hiddleston's heart stop , men become "amenities".But to say that "the high-rise" brings out the worst in its inhabitants is an oversimplification. Even at the height of the mayhem, they retain their principles; the expression of these just gets nuttier and nuttier. I'll give an example and I apologize if it's a ***MILD SPOILER***: Laing Hiddleston is at one point ordered by the upper echelon to lobotomize an "insurgent". Just as if he weren't living in a maelstrom of lunatics, and one of them himself, Laing says that he must first perform a psychiatric evaluation to see if a lobotomy is warranted. He performs the evaluation, I guess you could say, and reports back that he will not do the lobotomy because the patient is "possibly the sanest man in this building" never mind that he's talking about a violent madman covered in blood . The rich man's flunkies seize Laing and drag him towards the edge of the roof. He struggles for his life, but he does NOT say 'oh wait, I changed my mind' as he easily could have. He seems fearful but determined. Other scenes suggest the same thing; that in "the high-rise" the milk of human kindness isn't missing, only curdled.For me, the movie presents a pretty accurate portrayal of life in a capita-- excuse me, "the high-rise" -- as I've experienced it. Crime rates are redonkulous; even good people lose their bearings completely; the wealthy have all the power and not one clue what to do with it; the lower classes are "Balkanized" and turn against each other in almost random factions, men against women, children against parents, employees against customers, pet-owners against the hungry, all ignoring the common enemy. Taking the movie as a metaphor, the question isn't 'why don't they leave the building?', but 'why don't WE leave the building?' Just as unanswerable, but a little more thoughtworthy. If the characters' behavior is psychologically implausible, what is ours? Why don't we all just Jane-Goodall the heck out of here?This movie has a ton going for it: fantastic art direction, yes; good performances by good actors across the board, with special mention for Tom Hiddleston and Elisabeth Moss; a wry sense of humor that got a snort out of me with every scene; an excellent score; suggestive and surprising writing. It gave me interesting things to look at, interesting things to think about, and stronger feelings than I normally have on a Sunday. And, at the risk of treating him like an amenity, I'll say that Tom Hiddleston never hurts to look at, and naked Tom Hiddleston is even less painful. Final thoughts - it's not 'The Towering Inferno', but if you can get past that hurdle you might really enjoy it. I did. 9/10
Stylish and darkly humorous, at times ugly and unsettling! (by RaoulGonzo)
High-Rise is director Ben Wheatley's 5th full length feature Down Terrace, Kill List, Sightseers, A Field in England his biggest budget and his most ambitious. An adaptation of J.G. Ballards novel of the same name, although I haven't read the book I do hear that it's a pretty faithful telling. The film is full of stunning imagery and crammed with dreamlike and at times nightmarish moments. It seems to be one big metaphor on social status and class systems.Neurologist Dr. Laing Tom Hiddleston moves into a futuristic looking tower block in the 1970's. Only to see the new <more>
society crumble into age old violence.The main character of the film is the High-Rise itself, the whole movie set/shot within its walls barring the brief commute to Laing's office. The Architect Jeremy Irons goal was for a seemingly self sustaining society with everything needed to survive and thrive having its own supermarket and gym etc. It's also mentioned at one point that one of the tenants hasn't left the building in years. Although still dealing with "teething" problems with regular power outages and chute blockages A catalyst for the violence that arise between the levels . The question can be asked as to why the inhabitants don't just leave the complex once the chaos starts? As the doors are always open but it's clear these people seem to be wholly dependent on it. Trapped on their levels of society and unable to move any further up.The performances are great all round with nice turn-outs from Seinna Miller and Elisabeth Moss but for me Luke Evans as the in the end savage Richard Wilder steals the show a seemingly natural leader for the lower levels who becomes devoted to exposing the violence and mayhem that's descending within the buildings walls, and the creator himself Jeremy Irons is fantastic as usual giving a slightly ethereal feel to the proceedings. Tom Hiddleston is our centerpiece and our eye amongst the chaos being able to shift between classes. Excellent in the role and between this and the BBC drama John Le Carre's The Night Manager it's clear to see why he has become the icon/sex symbol he is.The main strength of the film is not the at times over convoluted plot or the loose narrative but the visual flair and bravura showmanship that Ben Wheatley and his crew deliver. Some of the Slow-Motion shots are breathtaking Similar to the technique he showed in the minute budget for A Field In England I feel he has only enhanced his reputation where some directors who have made good films with low budgets fail given the much larger scale to work with. The editing is tight and add to that Clint Mansell's brilliant score which elevates what is happening on screen building tension and atmosphere where there should be none. There is also a great cover of Abba's SOS which works ever so well.High-Rise is certainly not without its flaws the plot is all over the place at times to which certainly in the last third the plot kind of becomes irrelevant a next to non-existent narrative making it hard to follow. All that in turn makes it suffer with a lack of empathy with many of the characters and once the mayhem and unpleasantness is in full swing the violence can feel monotonous, making the third act tension free and meaningless. The performances and the arresting cinematography keeps your eyes peeled even if your attention to the plot is wavering.Darkly humorous and at time ugly and unsettling certainly flawed but undoubtedly entertaining/repulsive. A bold picture that's definitely not for everyone but for me it's exciting to see what Ben Wheatley and co come up with next.
Ben Wheatley's visionary potential blossoms with High-Rise. (by Sergeant_Tibbs)
After director Ben Wheatley showed what he could do on a minimal budget with A Field In England, Sightseers and Kill List, it's a relief to find that not only has he not compromised his style but he's completely blossomed. Trading the inherent conditions of fields for the pristine and organised production design a bucketload more of money and studio time it grants him, we have a director completely in their element, not only proving their potential but showing room for more growth. Granted, with Wheatley's version of his vision it's unlikely he'll break into the <more>
mainstream, but the in-built cult audience will go a long way. Along with its satiric Gilliam-esque atmosphere, High-Rise is incredibly British, but despite my lamentations of what a recent conventional British film tends to be, this is the type of film we deserve. The source material was written in 40 years ago by J. G. Ballard, and adapted here by Wheatley's wife Amy Jump, this film makes no updates to its period, contrasting the retro mid-70s vibe with their modernistic ideas for the time. The concept of a microcosm of society to demonstrate social unrest between classes is a well-worn idea – High-Rise may find a very close cousin in last year's Snowpiercer – but this is one of the more direct and slickly executed interpretations of the theme, only treading on the brink of science-fiction. It does run the risk of being far too on-the-nose, contrived and repetitious, but Wheatley's spark for surprises never leaves his grasp, justifying it with the heightened tone. It's blood-soaked, alcohol-fueled and nicotine- injected mayhem that doesn't hold back. With an array of characters, some compelling and some not, it still gets you invested in them and their impending doom in spite of how much they gleefully indulge in their primal survival instincts. Of course, the building is also a character here. We rarely step outside its view besides occasional glances at Tom Hiddleston's Dr. Robert Laing's commute and office. When we do see outside, the desolate horizon makes the building feel like a haven. The tower block is ideally a self-sustaining society. It has its own shopping market, its own gym and own swimming pool for instance, ostensibly open to anyone, but a privilege that can be taken away without warning. It's a new building, settling into its foundations, but it's seen as a way of life for many, working and living within its walls. While the doors are always open despite the eventual chaos, it's clear that the characters are systematically trapped in the tower block and wholly dependent on it. Not only trapped inside, but to their individual floors, as their stifled economic situations won't allow them to ascend. As the lower class lives in near the bottom and higher class lives near the top, a poor distribution of power cutting the bottom half off is a catalyst to upset the peace. However, given the contrasts between their two lifestyles – both of which we're given a peek through with Hiddleston's neutral audience surrogate – this clash is treated as an inevitability waiting to happen. The narrative is loose as it follows its vast ensemble, but the primary conflict emerges between the brute Richard Wilder, played by Luke Evans, a volatile spokesman for the lower class determined to expose the violence through a documentary, and the creator of the building, Royal, played by Jeremy Irons. While Hiddleston's Laing finds balance in the middle – despite taking some desperate means – his skills and seeming peace are seen as the solution to many, most importantly to those on the sinister higher levels. While Wheatley had to deal with what he had use for his previous films, a near limitless pool of resources colours High-Rise with slick cinematography and production design. It's a surreal atmosphere, quite Burton-esque without taking it to those various extremes, with its idyllic arrangements but still with undercurrents of dread. It's a boxed in world without sunlight and while everything is laid out for the characters, there's a sadness in that trap, even in the early blissed out stages of the film. The tight editing is complemented by Clint Mansell's captivating swirling score, though it does tend to get lost in its own montages. We often get disconnected from the characters and there's one dramatic leap in the narrative told through clips that may have been better sought through a finer focus. It's adamant to show us everything rather than hint. The film also relies on a lot more special effects than expected, and while they're not exactly perfect, they fit the old-school mood. Tom Hiddleston gives one of his best performances I've seen so far. He's not stealing scenes like Loki, but instead showing this relatable hollowness with his half-hearted conformity. He's well measured in how much to express, most often breaking down in isolation, but is mostly an introspective slate. However, the real scene-stealer in High-Rise is Luke Evans, an abusive misogynistic character you love to hate at first but his determination for a more respectable quest slowly grows on you. He's got the most developed and complex contradictions of the ensemble – a fighter and an artist, and a violator and a lover. His force is similar to Robert Carlyle in Trainspotting. Sienna Miller and Elisabeth Moss are tender highlights of the supporting cast while Jeremy Irons brings his reliable theatrics when necessary. Some may feel battered over the head by High-Rise, many will find it enthralling and profound. While it's thematically hardly new, the incisive execution is the ideal package and an example for the best of contemporary British cinema. 8/10Read more @ The Awards Circuit http://www.awardscircuit.com/
"Why don't the inhabitants just leave the high-rise?" (by paul_h_williams)
Wheatley's High-Rise has received a fascinating range of reviews from dross to genius and somewhere in-between - so something must be going on here to cause quite such a reaction. In most ways it's entirely faithful to the book. A book replete with dark humour and above all a unique understanding and vision of human beings. The entire movie, like the book, revolves around one crucial point, as things go profoundly awry why don't the inhabitants just leave the high-rise? Once you understand that this story may not be dystopian at all but actually about a kind of utopia then what <more>
some reviewers have called a mess becomes clear. Utopia may turn out to very different from the adverts.