Review #1,071: 'High-Rise' (2015)

J.G. Ballard's 1975 novel High-Rise in one in a long line of so-called 'unfilmable' works of literature, with British producer Jeremy Thomas having tried to get a project off the ground since the 70's with Nicholas Roeg originally attached to direct. The book's darkly humorous tale of social economics and bloody violence was deemed unfit for the big screen, that is until director Ben Wheatley stepped in to take the reign with his most ambitious film yet. I've enjoyed all of Wheatley's films, especially Kill List (2011), but the sense of claustrophobia and unease that was so prevalent in his earlier works goes missing in High-Rise, which quickly descends into incoherent anarchy.

The handsome and lonely Dr. Robert Laing (Tom Hiddleston) moves into a forty-story high-rise in the outskirts of London. Created by architect Anthony Royal (Jeremy Irons), the building is an innovative experiment in ultra-modern living. Complete with its own supermarket, spa, swimming pool and school, there's even little reason to go outside other than to earn money to support the lavish lifestyle. Living in the middle of the building, Laing quickly starts a relationship with single mother Charlotte (Sienna Miller), and makes friends with unhinged documentary film-maker Richard Wilder (Luke Evans) and his heavily-pregnant wife Helen (Elisabeth Moss). Soon enough, niceties are put aside as tensions mount between the different personalities and classes, and the corridors and elevators become blood-baths as the residents tear each other apart.

Firstly, High-Rise looks utterly splendid, with the 1970's setting providing a ghastly and grimy backdrop for the chaos that ensues and cinematographer Laurie Rose framing many of his shots with a steely perfection, matching the cold neatness of the film's passive yet curious protagonist. The performances are all top-notch too, with Hiddleston doing no damage whatsoever to the tiresome rumours of him replacing Daniel Craig as the next James Bond, and Evans bristles with anger and unpredictability. The film works very well for the first forty minutes or so, establishing the hierarchy within the high-rise and introducing a repulsive gallery of greasy-haired weirdos (Reece Shearsmith and Tony Way) and pampered toffs (James Purefoy and Keeley Hawes).

While at first Laing plays the role of the audience drinking in this madness, he almost becomes a supporting player from the middle-act, as Wheatley quickly loses focus and lets the chaos reign. There are too many characters squabbling over God-knows-what, and Wheatley struggles with translating the source material to establish a clear theme or message amidst all the barbarity on show. It shares much in common with 2013's Snowpiercer, and while Joon-ho Bong's actioner was heavily flawed, it managed to land it satirical punches far more convincingly. High-Rise seems too over-eager to bask in the violence, and gets so caught up in it that it forgets that it's also got a story to tell and characters deserving of more screen-time. I can certainly appreciate the ambition, but perhaps Wheatley wasn't ready to tell a story of such complexity.


Directed by: Ben Wheatley
Starring: Tom Hiddleston, Jeremy Irons, Sienna Miller, Luke Evans, Elisabeth Moss, James Purefoy, Keeley Hawes, Peter Ferdinando, Reece Shearsmith
Country: UK/Belgium

Rating: **

Tom Gillespie

Review #110: 'Get Him to the Greek' (2010)

The comedy films of writer/producer/director Judd Apatow have somewhat dominated the last eight years or so. As well as being commercial hits, they have been lauded by critics for their sweet approach to comedy, blended with gross-out aspects and genuinely good scriptwriting. Apart from his best works - The 40-Year Old Virgin (2005), Superbad (2007), Knocked Up (2007) - his films can often be lazy, relying on quirky randomness to get through. The overrated Anchorman: The Legend of Ron Burgundy (2004), which has somehow become a massive cult hit, was the biggest example of this, and although I could watch Will Ferrell all day, the film just felt like it was desperately trying to get through to the other side. Get Him To The Greek is another example of this.

Music producer Aaron Green (Jonah Hill) convinces his somewhat angry boss (Sean Combs) that an anniversary concert for failing rock star Aldous Snow (Russell Brand) is the way forward. Convinced, Green is sent to London to collect Snow and take him on a few promotional spots before arriving back in America for his concert. Snow would rather have endless parties, take lots of drugs, and sleep with lots of women - which is okay with Green, only he has an angry boss on his ass and a girlfriend (played by Mad Men's Elisabeth Moss) who he's not sure has broken up with him or not.

This is really a film of two halves. The first being genuinely funny - with Brand breathing likeability into his somewhat loathsome character, and the exchanges between Hill and Diddy being a particular highlight. This is coming from a person that hates Russell Brand. I mean I really, really hate him. But the charm that everyone else seems to see only becomes apparent to me when on the screen. Here he reprises his role from Forgetting Sarah Marshall (2008), where I was surprised with his comic timing. When the second half comes around, I began hating him again.

The film simply runs out of ideas, throwing in a troubled father-son relationship between Brand and his Las Vegas-based father Jonathan Snow (Colm Meaney) that is of no interest. It also throws up one of the unfunniest scenes in the film, with Hill being smashed on a 'jeffrey' (a mix up of a variety of drugs smoked like a joint) and stroking a furry wall while Brand and Meaney fight. It resorts to scenes like this because it has no more jokes to tell, and combined with Aldous Snow's increasingly crap and unfunny array of songs, it all feels like it just wants to end.

Sadly, a more interesting sub-plot that reveals Snow's serious drug habit crops up then seemingly fades out without being properly explored. It could have added another dimension to Snow's character, and stopped him becoming a whiny and annoying protagonist. That said, the first half is funny enough to make it worth a watch, and Sean Combs near enough steals the entire film.


Directed by: Nicholas Stoller
Starring: Jonah Hill, Russell Brand, Rose Byrne, Sean Combs, Colm Meaney, Elisabeth Moss
Country: USA

Rating: ***

Tom Gillespie