{"id":2685,"date":"2015-09-29T23:00:21","date_gmt":"2015-09-29T23:00:21","guid":{"rendered":"https:\/\/thunderbird.tv\/2015\/09\/29\/fantastic-fest-2015-high-rise-the-review\/"},"modified":"2015-09-29T23:00:21","modified_gmt":"2015-09-29T23:00:21","slug":"fantastic-fest-2015-high-rise-the-review","status":"publish","type":"post","link":"https:\/\/thunderbird.tv\/2015\/09\/29\/fantastic-fest-2015-high-rise-the-review\/","title":{"rendered":"Fantastic Fest 2015: HIGH-RISE \u2013 The Review"},"content":{"rendered":"

Michael Haffner\u00a0\/ We Are Movie Geeks<\/em><\/p>\n

What if the party never ends? More importantly, what if the guests actually want to\u00a0drive themselves to the point of no return? This is one of many ideas that takes up occupancy in Ben Wheatley\u2019s masterful new work. HIGH-RISE is about excess to a crazy level. The characters, situated in their little microcosms on each floor are practically begging for the apocalypse. They are boozing and pushing themselves past the point of depravity because\u2026 well\u2026 what else is there.? No one wants to return to reality the next morning. When the drinks run dry and the record plays its last tune, do we really want to go back to a sense of normality?<\/p>\n

Dr. Robert Laing (Tom Hiddleston) has just moved into a new building designed by architect Anthony Royal (Jeremy Irons) \u2013 a wealthy hermit who takes up residence on the top floor of the multi-story building. In fact, the building is situated as such that each floor is a class of their own, going from the lower class on the bottom to the wealthy at the top. As Laing adjusts to life in the high-rise, he becomes more aware of tension between the classes, which ultimately leads to all-out chaos.<\/p>\n

HIGH-RISE presents an unpredictable world. Even though there\u2019s an obvious structure that\u2019s inherent to the building, Ben Wheatley shows that everyone is essentially the same. The base needs and desires of humans\u00a0are all the same regardless of their social or financial status. Wheatley shows how each class uses sex and alcohol and \u201cthe party\u201d as a way to escape the harsh reality of life. What gets darkly funny is how \u201cthe party\u201d becomes a status symbol and a way to create\u00a0a rivalry among groups. Life is a competition, even if it\u2019s something that seems as trivial on the surface as a night of excess.\u00a0But that is what\u2019s most interesting about J.G. Ballard\u2019s novel and Amy Jump\u2019s script that Ben Wheatley understands: happiness is equated with overindulgence.<\/p>\n

Tom Hiddleston delivers a subtly nuance performance. Even when he doesn\u2019t appear to be doing anything, his line delivery or shifts\u00a0in posture create a character that carries this ensemble film. Elisabeth Moss creates a fragile character that you hope will escape the struggling marriage and lonely life she lives, even though you know that this is a hopeless wish. Who delivers a star-making performance is Luke Evans. His career has consisted of background or supporting characters, and although he plays another supporting character here, he finds a way to stand-out in a considerable way. His journey from the start of the film to the anarchic finale is more moving and tragic than any character in the film. It\u2019s a character that you love to hate, but Evans gives it just enough humanity that Academy voters will be hard-pressed to avoid acknowledging.<\/p>\n

Ben Wheatley has a knack for placing\u00a0the\u00a0perfect song with a particular scene. This is especially evident in his exceptional prior film SIGHTSEERS. HIGH-RISE is no exception. Pop music from the 1970\u2019s and classical compositions breathe life into the film. But Portishead\u2019s cover of Abba\u2019s \u201cS.O.S\u201d is one of the most memorable musical moments I have seen in a theater this year.<\/p>\n

HIGH-RISE can be looked at as a spirtual cousin to Fellini\u2019s LA DOLCE VITA. The elite appear to be asleep in both films in a dream world that is foreign to many. However, Wheatley\u2019s film continues the conversation past the dream state. It shows what happens when they awake from their night of champagne and caviar and how they are supposed to live when the champagne runs out. HIGH-RISE is a masterful satire\u00a0of society\u2019s instinctual lust for depravity. Made with Kubrick-like precision, HIGH-RISE is an uncompromising look at an apocalyptic dystopia that might be the most relevant and important film of the year.<\/p>\n

 <\/p>\n

Overall rating: 5 out of 5<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Michael Haffner\u00a0\/ We Are Movie Geeks What if the party never ends? More importantly, what if the guests actually want to\u00a0drive themselves to the point of no return? This is one of many ideas that takes up occupancy in Ben Wheatley\u2019s masterful new work. HIGH-RISE is about excess to a crazy level. 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