The Rise (Wasteland) (2013)
In the vein of Brit-crime crowd-pleasers like LOCK, STOCK & TWO SMOKING BARRELS, WASTELAND is the sexy, high-energy story of Harvey Miller (Treadaway), a young man recently released from prison for a crime he didn't commit, who has revenge on his mind. He recruits his three best mates to help him rob the local drug kingpin whose betrayal put him away in the first place. As the kingpin catches wind of the con, Harvey's plan threatens to fall apart, in a series of surprising twists that will keep you guessing until the very end. The excellent cast includes such familiar faces as Timothy Spall (SECRETS AND LIES) and Neil Maskell (KILL LIST). (c) Oscilloscope … More
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Critic Reviews for The Rise (Wasteland)
This British heist picture is familiar but energetic genre filmmaking, more interesting in its particulars than in its overall conception.
The shallow, derivative and contrived British heist thriller "Wasteland" lives down to its unfortunate name.
To borrow from a term for the gritty, working-class British dramas that this film also nods to, it's a kitchen-sink caper.
It creates two admirably entertaining storytelling strands - one a friendship saga, the other a robbery caper - yet can't merge the two successfully.
Athale has a flair for guy-pal banter; here, the talk is funny and profane, silly and profound, often in the same breath.
The sarcastic banter and male chemistry between Treadaway, an outstanding Iwan Rheon, Gerard Kearns and Matthew Lewis provide as much pleasure as the mechanics of the twisted revenge plot.
It may not be immune to the odd Brit thriller cliché, but this is an assured, stylish heist thriller from the debut filmmaker.
The final act's too cocky by half, but otherwise this is canny, characterful stuff.
Smooth, accomplished British crime indie tweaks clichés of the genre in a marvelously satisfying way.
An inexperienced cast and crew try to rush this atmospheric heist flick and the result is a visually striking film noir that runs out of gas.
The constant spinning of wheels drains the piece of its energy until a final act gets so convoluted that the whole thing falls apart.
Lethargic and not particularly invigorating or fresh, you can skip Wasteland and wait for the next Brit crime flick that will be following before long.
It's all good for having a laugh, for Wasteland, despite its ponderous title, gives us a likeable bunch of rascals we can root for, increasingly rare in the genre...
Botched by an ending that is too concerned with showing us how clever the writer-director thinks he is.
Wasteland reveals itself as little more than a bloodless plot engine, but it purrs and hums under the ultra-slick chassis.
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