Action / Drama


Uploaded By: FREEMAN
Downloaded 501 times
July 11, 2016 at 10:18 PM



Tom Hiddleston as Laing
Sienna Miller as Charlotte
Luke Evans as Wilder
720p 1080p
872.3 MB
24 fps
1hr 59 min
P/S 9 / 68
1.8 GB
24 fps
1hr 59 min
P/S 11 / 59

Movie Reviews

Reviewed by Nina 7 / 10

Amusing series of vignettes that never does come together

I had the pleasure of viewing High-Rise at a recent film festival. I went in with high expectations, which gave way to boredom and the anticipation of the end of the showing.

The actors absolutely fulfilled all expectations. The performances are all highly nuanced and look natural, rather than put on. Hiddleston goes above and beyond to give one of the arguably best performances of his career. The mise-en-scene of each scene is meticulously crafted and beautifully shot.

So what, exactly, tipped high expectations into boredom?

For one, the film never does come together, never gives off the feeling of a cohesive whole, but rather of a series of vignettes. Each vignette is, of course, beautifully shot, but the disconnect they cause makes it impossible to empathize with any of the characters.

Additionally, suspension of disbelief is near impossible. Why do the characters make the choices they do? What drives them to this madness?

Overall, I would recommend this piece to very loyal fans of any of the actors or to cinephiles with a high degree of patience.


Reviewed by Scudpipes 2 / 10

Half the audience left, film failed to grip

Eight people - about half the audience - walked out of this; usually I think, big deal, let them leave, some people have no taste. For example, fans of Tom Cruise disappointed by Eyes Wide Shut. Here, I guess you could say these were Hiddleston fans who wanted a bit more of him with his top off... but to be honest, I think they were just bored. I was. I should have walked too. As another reviewer here has written, JG Ballard can't be adapted for the screen. He's about right. That's the main problem - the script is a mess, both pretentious and trite, also very pleased with itself. Performances are uneven, and nothing much happens - for example, there is talk of a lobotomy, but that's about it. It's cobblers. Never has anarchic behaviour seemed to tedious and naff. Well worth avoiding, despite a couple of promising moments - the costume party, for example, and the thug who says 'You won't be needing that' - both of which director Wheatley fails to capitalise on. Oh, and it features an annoying intelligent kid, which is a big no no.

Reviewed by Jack Hawkins (Hawkensian) 5 / 10

High-Rise's allegory of class divide gets lost in a dull montage of blood, sweat and blue paint

Ben Wheatley is one of the most exciting British directors working today. His two best films are Kill List, a deeply disturbing horror/thriller about a tormented contract killer, and Sightseers, a black comedy about a troubled couple on their parochial, psychopathic honeymoon.

Key to these films' success are strong characters with interesting dynamics. Kill List begins almost like a domestic kitchen-sink drama centred on the failing relationship between Jay (Neil Maskell) and Shel (MyAnna Burning), but it subsequently evolves, or rather devolves, into something dark, dank and horrible in a most unpredictable manner. Sightseers may be most commonly remembered for its scenes of outlandish violence, such as when Chris (Steve Oram) deliberately runs over a litterer in a fit of righteous anger. However, underneath the comic outbursts of gore is the poignant relationship between Chris and Tina (Alice Lowe), an oddball pair with a past of loneliness and insecurity.

Having proved himself as a director of visceral horror and emotional substance, Ben Wheatley is the natural choice to direct J.G. Ballard's High-Rise, a Goldingesque tale of violent class war exploding within a brutalist tower block. The fragility of civilisation, and the primitive savagery that lurks beneath it, is a darkly fascinating subject that has made for excellent films and books, such as Threads, a devastating vision of post- apocalyptic Britain, and William Golding's Lord of the Flies, which needs no introduction.

High-Rise does not brush shoulders with such works, for its allegory of class divide gets lost in a dull montage of blood, sweat and blue paint. Oh, and dancing air hostesses, for reasons that are, to put it politely, enigmatic.

The focal characters – Robert Laing (Tom Hiddleston), a measured, middle class doctor; Charlotte Melville (Sienna Miller), a sultry woman who serves as Laing's gateway in to upper floors' high culture; Richard Wilder (Luke Evans), a pugnaciously aspirational documentary maker; and Anthony Royal (Jeremy Irons), the patrician architect who designed the building – are introduced well enough, but ultimately do not receive sufficient development.

As the lead and perhaps most relatable character, we are in the body of Laing when he traverses the tower's social scene, which he admits to 'not being very good at'. Some may find him steely, but Laing has an affable reserve and high emotional intelligence. He isn't particularly interested in the petty one-upmanship that comes with climbing the social ladder, but he manages to deftly negotiate it anyway through his insouciant reserve that maintains peoples' interest and disarms any potential enemies. Hiddleston, one of Britain's hottest exports, is well cast here, he delivers the best performance of the film.

However, after a competent introduction to society in the high rise, Laing and the others get lost in an incoherent narrative that favours aesthetics and absurdity over credible character interplay. It begins three months ahead of the main events, showing a blood spattered Laing roasting a dog's leg over a fire surrounded by dirt and detritus. After the introductory period of around thirty minutes, the film then charts what led to this repellent spectacle with a disjointed series of set pieces that give little sense of progression.

Electrical problems are plaguing the building and resentment is brewing between the upper and lower floors, but the descent into nihilism just… happens. Dogs are being drowned, Laing's painting his apartment (and himself) like a total madman and the whole building becomes a rubbish-strewn nightmare – but there's no tension, no crescendo, no credibility and, curiously, no one who considers leaving! The worsening relations should have been more gradual and given much greater depth and meaning by the characters, their dialogue and their relationships. Instead, the main character covers himself in paint to communicate his increasingly aberrant state of mind, which appears to be an obvious metaphor for tribal decorations.

High-Rise fails as a film about primal savagery and particularly as a film about class. In Woody Allen's Blue Jasmine, I cringed as Jasmine and her husband Hal, arrogant members of New York high society, barely contained their raging superiority complexes as they awkwardly condescended to Ginger (Jasmine's sister) and Augie, a decidedly blue collar couple who wonder at Hal and Jasmine's luxurious home. No such realist interplay is to be found in High-Rise, because its characters are thinly drawn and it isn't rooted in reality, which is very much to its detriment.

Towards the film's end, there are moments in which Royal and his minions discuss the politics and future of the tower, with Royal remarking that the lower floors should be 'Balkanised', meaning that they should be fragmented and pitted against each other in a manner reminiscent of the Yugoslav Wars of the 1990s. I liked the use of that phrase, there should have been a lot more of this in the script, more overt political manoeuvring rather than surrealist claptrap and brutalist 70s chic.

Alas, Wheatley's High-Rise is more concerned with aesthetics and the 1970s, which means there's more in the way of shag-pile carpets, dodgy hair and the colour brown than developed characters, coherent narrative structure and sociopolitical substance.



Read more IMDb reviews


Be the first to leave a comment