High Rise

Director: Ben Wheatley
 
Starring: Tom Hiddleston, Luke Evans, Jeremy Irons, Sienna Miller, Elisabeth Moss 
 
Running Time: 1 hour 59 mins
 
Release Date: 18th March 2016
 
First published in 1975, J.G Ballard‘s ultra modern and seriously twisted novel High-Rise tells the dystopian-esque story of the explosive downfall of a luxury high-rise tower block that collapses into sheer madness as the pressure of a judgmental caste like system between the tower’s floors pushes the residents to breaking point. 
 
This year director Ben Wheatley unveiled his visceral adaptation with an all-star cast including the likes of Tom Hiddleston, Luke Evans, Jeremy Irons, Sienna Miller and Elisabeth Moss. With a screenplay from Amy Jump, Wheatley’s HIGH-RISE sees Hiddleston as our narrator, Dr. Robert Laing, as he navigates his way through life in the tower block, finding himself centre of interest from the tower’s architect Anthony Royal (Irons) as he resides in his elusive penthouse suite.   
 
The tower acts a self contained center of anarchy and absolute carnage. Royal positions himself on the very top like a Godly figure of power and creation, seemingly oblivious to the filth that seeps through each floor. The animalistic sex, the booze-fuelled parties and the casual drug use all creating a cesspit of sin. The violence throughout the narrative feels utterly primal and oddly entertaining to watch. A mix of nausea and cheap thrills wash over us in cascading waves, pulling us in to witness the likes of Laing pummel other floor inhabitants with a fierce sense of territorial aggression; all over the ownership of the very last can of paint.
 
Not only do we witness physical harm through the characters, but the violence in the visual display often feels obscenely grotesque, yet endearingly addictive. The shocking image of Laing ripping the face from a severed head is completely heinous, but somehow totally fitting to the narrative.
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Wheatley pulls no punches in introducing the shock factor early on within the narrative and continues this theme in all its variant as the story evolves. From scenes of animal violence, vicious beatings, violence against women and aggressive sex; Wheatley assaults our senses with extremity and, while this no doubt will offend some, fans of shocking cinema will find themselves compelled to stare into the screen with sickening delight.
 
This being said, there are moments when the extreme use of distorted and violent images verge on crossing the line of justification and spill into self-indulgence. Yes, this film centres around the dismay of civil society and therefore we expect to witness images of their crumbling morals, but it often feels as though Wheatley has forgotten that there is still a story to tell.
 
Many scenes feel like style over substance in a sense that thrilling narrative gives way for overtly fetishized carnage. This can feel disorienting in a way not suitable for traditional narrative telling. While this is no means unheard of in film, especially one of this genre, one can’t help but feel like this leads to the film flirting the lines of being a missed opportunity.

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The narrative also suffers from distorted pacing. There are too many moments that dwell on the visual splendor of this crumbling tower block and lead to nothing entirely thrilling in the narrative. There were times when one expected the narrative to progress quicker than it did and therefore the running time felt altogether too long, despite just being two hours.  
 
One of the very best things about watching HIGH-RISE in all of its manic joy is the smorgasbord of fantastic performances from some of Britain’s finest. Tom Hiddleston throws himself into this evolving character with real bravery and dedication; unafraid of the extreme representations Laing delivers as a character.
 
We’re immediately introduced to him as an almost feral being; rolled up dirty trousers, a soot covered face, digging through bulging black carrier bags and chewing on a spit roasted dogs leg. As our narrator, he brings us back three months earlier when he donned flared trousers and an expensive suit, carrying a shiny black briefcase and headed to his professional job. With Laing as our central character, he gives us the great opportunity to fully experience the demise of the tower block, enabling us to see first hand what this kind of caste system anarchy will do to the middle man.

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Hiddleston does a superb job in such a role and is a joy to watch. We’re able to trust him as our captain as he sails us through the stormy seas of Amy Jump’s adaptation. With roles in the likes of Crimson Peak and the recent BBC series The Night Manager, Hiddleston is proving himself to be far more than just a Marvel super villain, a role in Thor that has captured the hearts of so many, but instead is a varied and sincere acting talent. 
 
Another triumph concerning the film’s major performances comes from Luke Evans. His take of the twisted and shockingly selfish brute, Richard Wilder, is exceptional. In a narrative full of sickeningly horrid characters, Evans manages to push Wilder to a point of absolute insanity that he tops the list for most deprived residents of the tower block. He’s loud, crass, immoral and frightening but he’s completely watchable. There’s something quite enigmatic about this hideous nature and that is clearly down to Evans’ magnificent abilities throughout the narrative.
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Other smaller, yet still brilliant performances, come from the likes of Sienna Miller, Elisabeth Moss, Jeremy Irons and in particular young Louis Suc. Suc plays Miller’s young son who pays witness to all the carnage that spills from the tower block’s various levels and gives a comical and genuine performance.
 
It’s very easy to enjoy the excess of sex, violence and immorality that spills from Wheatley’s adaptation of this famous novel. There’s a sense of entertainment that feels somewhat cathartic as we watch Laing and company destroy each other with wild ferocity and absolute disregard to social morals and rules.
 
However, where Wheatley favours art, visual style and the shock factor, he seems to forget about strong story telling; leading us to feel a little underwhelmed by the general storyline. HIGH-RISE feels like a missed opportunity for something truly brilliant. It’s by no means a bad film but it certainly isn’t a great one and here lies the real problem. Still, there’s joyous horror to be found in Wheatley’s sick and twisted tower block that’s sure to tap into that dark little part of our minds that craves madness. 
Verdict
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Elly Jones
Film Journalist Follow: @Elllllllllllly Follow: @filmandtvnow

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