High-Rise (2015)


An open house you may not want to attend.

An open house you may not want to attend.

(2015) Thriller (Magnet) Tom Hiddleston, Jeremy Irons, Sienna Miller, Luke Evans, Elisabeth Moss, James Purefoy, Keeley Hawes, Peter Ferdinando, Sienna Guillory, Reece Shearsmith, Enzo Cilenti, Augustus Prew, Dan Renton Skinner, Stacy Martin, Tony Way, Leila Mimmack, Bill Paterson, Louis Suc, Neil Maskell, Alexandra Weaver, Julia Deakin, Victoria Wicks. Directed by Ben Wheatley

Florida Film Festival 2016

It is part of human nature to divide people into class by their wealth; the upper classes – the haves – all the way down to the lower classes – the have-nots – and in between. Some places, class distinctions are much more concrete than others; the British have made an art form of it.

Set in 1975, this film based on a J.G. Ballard novel posits something that back in that time was only beginning to catch on as an idea but is more prevalent today – the lifestyle apartments. You know the kind; the ones that have shopping and sometimes even office space in the same building, allowing those that live there to need never venture beyond the walls of their high rise. This particular one sits just outside of London.

The middle class inhabit the lower floors with few amenities; the further up you go, the more amenities there are (gymnasium, swimming pool and so on) and of course the wealthier the resident. On the very top floor is Royal (Irons), the reclusive architect of the whole she-bang and his shrewish wife Ann (Hawes). Their luxury penthouse includes an outdoor garden where there is enough room for Ann to ride a horse and Royal to work on the other four towers of the five he has planned.

Into this environment comes Dr. Robert Laing (Hiddleston), a physiologist who is single and immediately catches the eye of Charlotte (Miller), the resident nymph who raises her son Toby (Suc) on her own as a single mom, who catches the good Doctor sunbathing nude. She invites him to a party where he meets Wilder (Evans), a dissatisfied television news reader who has the hots for Charlotte and a little bit too high of an opinion of himself.

The building is brand new and starkly furnished in the style of the time, but cracks begin to show in the facade. Electrical outages at first affect the lower floors before spreading and ending up in a complete blackout. The store where all groceries are bought fails to get resupplied and eventually panicked residents ransack it.

The social order breaks down quickly as the haves and have-nots arrange themselves into violent tribes. The women begin to gravitate towards men who can protect them from the violence and chaos going on in the building. The upper classes gravitate towards Royal as a leader (as he is the wealthiest) while the lower classes choose Wilder because of his fearlessness. Before long, civilization is a distant memory.

Ballard’s allegorical commentary on how thin the veneer of civilized behavior is was controversial in its time, although given recent events one can’t help but wonder if he erred on the side of caution. It also isn’t a particularly lightbulb-glowing concept, that the classes don’t like each other much. In some ways, the point was made better and earlier by Jonathan Swift in his A Modest Proposal which suggests that with overpopulation and food shortages inevitably befalling any civilized nation that the wealthy should look to eating the poor. And you thought Ballard was cynical!

Hiddleston has been coming on lately as a legitimate leading man presence. He has a bit of an edge compared to guys like, say, Matt Damon; I think of him as more of a ‘70s archetype for a leading man, which makes him perfectly cast here. Initially, he’s got a bit of a shy and reclusive nature, which might be what draws the ladies to him (including Wilder’s very pregnant wife Helen (Moss) with whom he has a dalliance late in the film) although it might be more due to the fact that he’s got crazy good looks. I know at least a few ladies who have him on their list of five (five men they get to do anytime, anywhere even if they are married). He’s also a hell of an actor and we watch his descent into obsessive insanity, although he never quite hits bottom. While Hiddleston is known for his villains at present, I would imagine leading roles in big-budget franchise films are just around the corner for him.

I was a teen in the era that is depicted here and there’s a bit of a shock in seeing how many people smoked (according to iMDB there are people smoking in 80% of the film) including pregnant woman. There was also rampant sexuality going on, including a crapload of extramarital affairs and plenty of drug use. All of which is captured here, which while I found unsurprising, still seemed jarring when given today’s mores. Still, I ended up feeling a bit grimy just watching it.

Likewise there are things that sort of rock the logic meter to its core. For instance, why don’t people just LEAVE? After all, the chaos is limited to this one building; if the situation became that out of control, wouldn’t you just walk out the door and be done with it? Also, why doesn’t the grocery store get restocked? That’s never addressed.

I think a lot of how you’re going to digest this movie is going to depend on your own social situation. People who are wealthy and/or conservative are going to identify with the upper class tribe; those who are working class and/or liberal might well identify with the lower class tribe, although the latter were guilty of some unspeakable acts which might give you a hint as to where Ballard’s own sympathies lie (or at least the filmmakers; I haven’t read the source novel yet). Quite frankly, from what I’ve read the jury is out as far as opinions regarding the book’s sympathies.

Similarly, the movie is polarizing – people either love it or hate it. I wanted to like it more than I did, but like Mick LaSalle of the San Francisco Chronicle pointed out, watching any five minutes of this film will convince you that it is brilliant but watching the whole of it will not – he called it the best disappointing film you’ll watch this year and in that he is absolutely correct.

REASONS TO GO: Class warfare for dummies. Hiddleston shows some star power.
REASONS TO STAY: Logical holes abound. Makes you feel like a full ashtray has been dumped on your head.
FAMILY VALUES: There’s some fairly disturbing stuff here; violence, rape, graphic nudity, sexual content, drug use, foul language and a partridge in a pear tree.
TRIVIAL PURSUIT: Author J.G. Ballard published the novel this is based on in 1975, the same year that ABBA’s “S.O.S.” was released (the song was covered by two different artists on the soundtrack).
CRITICAL MASS: As of 6/26/16: Rotten Tomatoes: 62% positive reviews. Metacritic: 65/100.
COMPARISON SHOPPING: Snowpiercer
FINAL RATING: 6/10
NEXT: Raiders!: The Story of the Greatest Fan Film Ever Made

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The Rum Diary


The Rum Diary

Johnny Depp in a pose sure to get many a woman's heart aflutter.

(2011) Drama (FilmDistrict) Johnny Depp, Aaron Eckhart, Amber Heard, Michael Rispoli, Richard Jenkins, Giovanni Ribisi, Marshall Bell, Amaury Nolasco, Bill Smitrovich, Karen Austin, Julian Holloway, Bruno Irizarry, Enzo Cilenti. Directed by Bruce Robinson

Hunter S. Thompson remains an iconic figure; not only in the counterculture but also within journalism and I guess among those who admire American eccentrics. One of his close friends was actor Johnny Depp, who famously portrayed the author in Fear and Loathing in Las Vegas and helped get this novel, based on Thompson’s experiences in San Juan, Puerto Rico in the early 60s, published.

Now Depp has gotten the movie made. He plays Thompson surrogate Paul Kemp, a boozehound journalist who has seen the bright lights and big city of New York but has been exiled to the San Juan Star, an English language newspaper that is on its last legs, edited by Lotterman (Jenkins), a harried frazzled man who is watching his empire crumble around him.

Kemp hooks up with Sala (Rispoli), a once-competent photographer who has fallen into a booze-induced haze of rum and cockfights while he waits to collect the severance pay that is sure to come when the Star folds. The two wind up sharing a room with the mercurial Moberg (Ribisi), whose brain has been filleted by drug use and alcohol abuse. He’s been fired from the Star but still hangs out around the newspaper, avoiding Lotterman and waiting for his paycheck.

Kemp is approached by Sanderson (Eckhart), a shady businessman who brokers quasi-legal land deals that enrich the pockets of his American friends but not so much the people of Puerto Rico. Sanderson’s girlfriend Chenault (Heard) takes a shine to Kemp but the combination of rum, debauchery and intrigue prove to be a more alluring combination in many ways.

Robinson made his reputation as a director with Withnail and I, an account of an alcoholic from the point of view of his friend. After the best-left-forgotten Jennifer 8 he has been absent from the director’s chair for 20 years. This isn’t, sadly, an auspicious return to the form of the former; thankfully it isn’t a project sunk to the depths of the latter either.

Much of the movie’s high points – and low ones – come from Depp. Nobody can play drunk like Depp can and although Rispoli and Ribisi do their best (and it’s pretty good) it’s Depp’s show without a doubt. Although he’s pushing 50 and is playing a man who has to be about half that age, he still makes Kemp a believable journalistic Quixote, tilting at the windmills of corruption and arrogance with Rispoli an effective Sancho Panza.

The chemistry between Depp and Heard is a little dicey. Heard is a very good actress but she’s playing a gold-digger who, it seems to me, would be more attracted to the size of a wallet rather than to the kindness of a heart. Why Chenault falls for Kemp is a complete mystery and doesn’t seem to fit with the girl’s character and Heard isn’t able to really offer an explanation either.

The movie is paced like a long languorous Caribbean afternoon, passing in a haze of rum, heat and thunderstorms. It doesn’t have the kind of edginess you’d expect with something that Thompson wrote and it might well be best seen after having quaffed a glass of 400 proof rum. No such thing? Oh, I beg to differ my friends…

REASONS TO GO: Nobody does drunk like Depp.

REASONS TO STAY: Kind of stodgy for a Hunter S. Thompson adaptation.

FAMILY VALUES: There is plenty of foul language, enough drinking to drown the Antarctic in rum and a bit of drug use.

TRIVIAL PURSUIT: Robinson, who also wrote the screenplay, had been sober for six years before taking on this project. He was hit by a severe case of writer’s block and began drinking, a bottle a day, until the script was completed. He continued to drink during production and quit drinking immediately afterwards.

HOME OR THEATER: While the look of a squalid Puerto Rico is sometimes offset by the gorgeous vistas of beach and jungle, the movie works as well at home as it does in the theater.

FINAL RATING: 5/10

TOMORROW: The Dead Girl