Director: Ben Wheatley
Screenplay: Amy Jump
Starring: Tom Hiddleston, Jeremy Irons, Sienna Miller, Luke Evans, Elisabeth Moss, James Purefoy, Keeley Hawes
Synopsis is here:
The blandly branded products that litter the flatly lit supermarket hint at Alex Cox's Repo Man (1984). The setting as well as the loss of mental faculties and civility hark back to Cronenberg's Shivers (1975). However, at the dark heart of Ben Wheatley’s High-Rise seems to nod more than once to The Shining (1980). It is much like Kubrick's adaptation in that it's an altered take on a well-known book. The isolated setting and claustrophobic feel also owe a lot to the auteur’s work. Only here, the ghosts in the machines and manic possession have little to do with the supernatural, they are man made.
Those who haven’t picked up J.G Ballard’s disconcerting novel, may find themselves at a loss to Wheatley’s new feature. A lurid tale of materialism gone mad, High-Rise follows Robert Laing, a grieving doctor who moves into a brand new, luxury High-Rise skyscraper with a broad band of professionals. Along with the other residents, he quickly becomes seduced
Those who know Ballard may feel that his caustic, matter of fact prose and eye for detail is lacking slightly. While kudos must be given to screenwriter; Amy Jump, for squeezing as much juice out of the orange as she can. There is, of course, as with so many novels, always text that can often help fill in the cracks and spike the imagination. Ballard’s canny way of getting his unhinged characters to justify the insanity as somewhat normal, is hard to replicate. It’s hard to imagine anyone being to get it right. Although I do feel that David Cronenberg, who dealt with Ballard with his adaptation Crash (1996), manages to capture the cynical, distancing tone and psychology of such characters a little better than Wheatley, whose High-Rise holds one or two elements within it not to have its viewer shirk with total despair despite its brutality.
That said, Wheatley along with his long time running cinematographer buddy Laurie Rose, not only capture the feel of the 70’s with flair, but capture the book images that I thought only resided within my head. The details in the design and setting along with the execution of certain sequences are near note perfect. The images linger long in the memory, as well as what they represent. Scenes such as the higher classes, debating with what to do with the rampant and primal filmmaker Richard Wilder (an excellent Luke Evans). Observing the richer types holding a high class party while having classical music covers of Abba tracks, nails the false belief that those at the top have over the bottom perfectly. That even popular culture must be "cultivated" correctly.
Even the high-rise itself; a grinning beast of architecture, is the perfect metaphor for how many
The film does what decent Sci-fi should do. It finds the human element or as the cynical architect Anthony Royal (Jeremy Irons) remarks the “missing” element.
Wheatley’s film is not only a return to form from his bizarre and distancing experiment A Field in England (2013), but it plays out as a cinematic representation of Marina Abramovic’s recent performance art, or even an update of Jane Elliott’s eye