Director: Ben Wheatley
By Alex Watson
Although the anger and the socially divided filled world of JG Ballard still dazzle on screen, Ben Wheatley cannot make High Rise the memorable effort we desire. His depiction of a high rise building divided by class does fester with a wonderful malevolence but feels confused as to what approach he really desires? The wonderful ugly/beautiful cinematography of Laurie Rose both arrests and horrifies the eyes and this one world we are sucked into with no escape in sight.
Dr. Robert Laing (Tom Hiddleston) has recently moved into a luxurious high rise complex where its inhabitants are buying a piece of the future. He makes fast acquaintances with the residences such as the flirtatious Charlotte (Sienna Miller), the fiery Wilder (Luke Evans) and the wealthy Anthony Royal (Jeremy Irons). Soon it becomes apparent there is a growing tension within the building and soon a violence threats to break apart this pristine society.
While High Rise, for the most part, is a well acted and immaculately produced work, it is not able to move into classic status. Wheatley is faithful to Ballard's and takes us into a world which is shiny and new on the surface but rotten to the core underneath. Foreseeing all the greed that was to come during the Thatcher era of Britain, this building gives us a group of well to do individuals obsessed with status right down to the car they drive. The way that Laurie Rose shoots this dazzles us early on and leaves a disturbing ambience which becomes the stuff of nightmares. In particular, a bizarre sequence when Laing is booted out of a fancy 18th-century party hosted by Royal.
Early on it becomes apparent this building has a social hierarchy that is causing a few issues. Power outages, garbage chutes blocked are just a few of the triggers that lead men like Wilder is cause a fuss. While Royal and his snobby wife Ann (Keeley Hawes) look down on the residence from their penthouse, the whole places is shaking with a barely contained anger. When it erupts the images are so striking it is impossible to tear our eyes away. Moment simple moments such as Evans crashing a pool party or a paint covered Hiddleston are so beautifully conveyed it like a hypnotizing nightmare. This might interrupt the flow of the story, but even if a Wheatley film isn't complete it always keeps us watching.
High Rise's story is the real source of the problem because while the novel is still relevant today, Wheatley and co-worker Amy Jump are unable to give it a smooth transfer to the big screen. The story never quite grasp its premise and moving into thriller territory knocks it off balance. The idea that people are buying the future but cannot shake their lower past is fascinating and the eventual decay of social order is excellently presented. However, the plot has a tendency is walk all over the place and never firmly snaps itself into place. Those who have read Ballard's novel will agree this is a difficult novel to pace and Wheatley deserves credit for taking this far. But no end of visual feasts can distract this picture for feeling slightly lost.
Tom Hiddleston does prove to be a perfect choice to bolster this tough piece and his slick yet troubled Dr. Laing is the perfect face for eventual destruction. Using all the charm we have seen in his priors like The Night Manager or Crimson Peak, Hiddleston is a morally complex man who lives the high life but fears to do so. Sienna Miller's unrepentant mistress is a sly and attractive look at the blaze view of corruption. Luke Evans is the real star of the piece and hot-tempered Wilder is a thumping presence. Wonderfully capturing the frustrations of the people in the floors below, Evans is the very of what will come to be.
Ben Wheatley's biggest budget piece by far, he does manage to pull off a tough act but those hoping for one of the great movies of the year might need to lower expectations. High Rise is a luscious bad dream which will make the descent into mayhem look glorious.
