View From the Top
April 7, 2016
High-Rise (2016).
D: Ben Wheatley. DP: Laurie Rose. W: Amy Jump (adapted from J.G. Ballard’s novel). Starring: Tom Hiddleston/Jeremy Irons/Luke Evans/Sienna Miller/Elisabeth Moss/James Purefoy/Keeley Hawes/Dan Renton Skinner/Louis Suc.
High-Rise is true to its name as the film explores the life and destructive times of residents of a new residential complex in 1970s era London presumably. The film focuses on the newest resident, Dr. Robert Laing (Tom Hiddleston), whose boxes are left mostly unopened and whose past is never revealed. Laing soon meets fellow lower floor couple Richard and Helen Wilder (Luke Evans and Elisabeth Moss) along with sociably sexy Charlotte (Sienna Miller). Soon invited up a mirrored elevator to meet the grand architect of the building, Mr. Royal (Jeremy Irons), Laing finds himself in a microcosm of capital classism.
At the center of High-Rise is Hiddleston’s performance, one where his eel-like charm and sinuous figure lend a statuesque quality to the anti-hero. His complex yet at times vacant take on Laing is a clean counter balance to the ruthless messy energy of Evans’ performance as Wilder. Sandwiched between them at times is Miller who continues to be a pretty face with little to do. She is dragged across the floor at some point in a menacingly real act of terror. Moss is better here as the heavily pregnant wife of Wilder who is trapped in a concrete created suburban nightmare. Louis Suc as Charlotte/Miller’s son Toby is charming and unaffected.
As a novel before the film devotee I am shamed I did not have the time to read this before seeing it. J.G. Ballard’s work is unfamiliar to me, however, that being said the film inspires me to still pick up the book. The imagery alone of the towers as analogous to an open hand makes me curious what part of the novel were deemed by some as un-filmable or impossible. As life in the high-rise breaks down and groups of floors depreciate into debauchery style becomes the focus.
Cinematographer Laurie Rose worked with Wheatley on his previous films and along with Mark Tildesley creates a world of angular walls and beige for Laing. Such that when he steps out onto the penthouse garden of the Royals you feel almost flushed. His obsession with a can of paint then seems a tad over the top amidst a grocery store looting. The editing is well balanced between stylized moments and narrative propulsion and the use of a cover of ABBA’s ‘S.O.S’ is quite startling. An adult Lord of the Flies trapped within concrete hell, High-Rise is worth a watch. It’s the sort of film I would imagine Patrick Bateman would be fascinated by.
A Fizzing Folly
November 10, 2015
Burnt (2015).
D: John Wells. DP: Adriano Goldman. W: Steven Knight. Starring: Bradley Cooper/Sienna Miller/Daniel Bruhl/Omar Sy/Matthew Rhys/Emma Thompson/Uma Thurman/Sam Keeley/Alicia Vikander/Lily James/Riccardo Scamarcio.
The restaurant world is an obvious high energy setting for drama, comedy and even violence. With the sheer amount of home-cooking shows, restaurant re-do shows, road trip eating shows, and food competitions on television even if you are not watching them you are inundated with them. The enthusiasm and drama of The Great British Bake-Off was of national importance here in London. It’s safe to say that Burnt is correctly set in London, but its boring plot and contrivances make for one bland plate.
Bradley Cooper grins and shouts his way through the film as Gordon Ramsey-esq chef David who has a drug laden dark past just bad enough to make him sexy, but not too bad that he cannot actually recover and chase his Michelin dreams again. David even serves some kind of personal penance in New Orleans and shucks oysters for two years. The opening is so needless you almost wonder if after Jon Favreau’s Chef came out last year that writer Steven Knight was told, ‘nope move it somewhere else can’t have another foodie movie in nola this soon,’ a pity. After seeing Cooper tackle something as challenging as The Elephant Man on stage Burnt feels like a career ditch.
Along David’s recuperation trail is a cameo by Uma Thurman (how much did she work on that accent?) and some cute visits with the ‘voice of reason’ therapist Emma Thompson. Of the moment younger actresses Lily James and Alicia Vikander appear to just disappear again. All to service Sienna Miller as Helene who is so trapped in her ‘supportive woman’ role it might make you want to scream. She at least has much more to do than she did in Foxcatcher, but she still falls for Cooper’s grin and all the film’s contrivances. Matthew Rhys and Omar Sy are admirable friends and foes for Cooper, but who cares?
If there is one saving grace it might be German actor Daniel Bruhl (The Fifth Estate, Rush). His turned-out tight-mouthed maitre de Tony is a slight gleam of sunshine in a dark kitchen. Director John Wells must have seen this and uses him to inject humor and character into scenes. Bruhl is never over the top in a role that could easily have become a parody. Nevertheless, Wells uses so many montages and prep sequences that you end up not salivating for something juicy, but actually begrudging Burnt for not being a better copycat. Did Wells see 2007’s No Reservations? Considering how fantastic his last film, August: Osage Country, was this is a disappointment.