Having just finished and thoroughly enjoyed The Night Manager, I thought I’d know more or less what to expect from High-Rise. This is due largely in part to the sexy sexualization of Tom “Sexy” Hiddleston, who stars in both and is also sexy. I assumed his character in High-Rise to be the sterling yuppie with the isn’t-it-perfect life structured in service of the concealment of darker, truer impulses. In Night Manager Hiddleston’s attractiveness is essentially made into a plot point; so too, probably, would High-Rise note the perfection of the specimen before delving into a personality far less desirable. A six-pack and a violent extreme, per American Psycho, per marketing stills like this:
But High-Rise isn’t sexy for very long. The prologue is a glimpse of the messy future, wherein Hiddleston’s Doctor Laing seemingly resorts to making food out of the dog, making paper airplanes out of the electricity bill, and making a ramshackle life in the husklike ruins of the tower block. It is suspiciously unsexy. Then again, though, resorts isn’t the right word: Laing has very definitely chosen this. He’s in a sort of hell and is more or less enjoying it.
The “Out of Africa” theory of evolution posits that Homo sapien originated on the African continent and migrated to replace other hominid species, which is in direct contrast to the multiregional theory of human evolution (the “Multiregional Continuity Model”) positing the phenomenon of Homo sapien to be just that: a phenomenon, simultaneous across varied regions and indicative of some level of gene flow between geographically separated populations. Significantly, this gene flow would have prevented speciation after the dispersal, a somewhat unbelievable but not altogether impossible occurrence that nevertheless would seem to nudge all credibility in the direction of the Out of Africa model. Among the critical tenets of this hypothesis is the assumption that after Homo erectus migrated out of Africa the different populations became reproductively isolated, evolving independently and, in some cases — as with the Neanderthals — into separate species entirely.
Thankfully, Sydney Pollack’s Out of Africa has nothing to do with any of that boring science stuff. Two nights ago the 88th Academy Awards granted Spotlighttwo major trophies, one for Best Original Screenplay and one for Best Picture, and so as usual a return to the past Picture winners seemed in order to see where we stand as a cinema-appreciating public. Is Spotlight better/worse than winners past? Did you see Spotlight? Did you enjoy it? Did you enjoy it at unprecedented best-film-of-the-entire-year levels? Did The Revenant or The Big Short deserve the trophy instead? Ah, of all sad words of tongue or pen!