Ralph Breaks the Internet
Mission: Impossible - Fallout
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All Critics (17)
| Fresh (8)
| Rotten (9)
At very best, this cheap horror is a run-of-the-mill British exploitation flick with nothing new to say; at worst, it's classist, deeply conservative and completely narrow-minded.
Though suspension of disbelief is a pre-requisite, [this] is a rather gripping thriller...
It is an expertly crafted thriller with a mastery of tension-building techniques.
Thanks to the muddled plot motivations Tower Block really struggles in the final third.
Gritty and claustrophobic, this British horror-thriller holds our interest with well-played characters rather than the wobbly plotting.
Contains some effective jolts and engaging characters. But after setting up the premise, it doesn't really have anywhere to go. Kind of like the characters themselves
The film is efficiently made and more realist than some of its ilk, in that the desperate inhabitants seem credible. What it lacks is directorial flair.
The ending is a letdown but this is still a very promising debut from directors James Nunn and Ronnie Thompson.
Tower Block doesn't rise high enough to match its ambitions.
It's not a bad idea for a movie, but what we get is undercooked, with poor logic and even poorer pacing conspiring to prevent any much-needed tension to build.
"Guilty pleasure" is pushing it, but you might develop a certain guilty appreciation for the way this slab of breezeblock Brit-schlock goes about its ludicrously contrived business.
There are plenty of clichés, like lifts that don't work and a mysteriously disappearing phone signal. It's badly lit and rather grim, with far too many extreme close-ups.
A low budget British thriller that is pretty tense and gripping, With some good performances from the cast especially Jack O' Connell, The story has been done before but the whole mystery to it kept it fresh, We all knew how it would end and when we found out who the killer was it wasn't a great surprise, A few gruesome scenes keep it entertaining, It's as good as it ever was going to be.
A decent premise is let down by a terrible script, dour colour scheme and some shockingly bad acting (even the usually fantastic Sheridan Smith is a little clunky). Think Attack The Block without the humour, pathos, technical skill and well chosen soundtrack.
A decent very low budget UK film, featuring a few well known faces to UK TV audiences. The story is very basic with a group of residents held captive in a Tower block by a sniper. It has a few neat touches and surprises but is rather too predictable and some of the acting isn't great. Catch it on TV if you fancy a change from the normal run of the mill stuff.
The biggest influence on the current crop of low budget film-makers, particularly those from Britain and France, seems to be John Carpenter. This should be a positive but what few of them realize is that it takes more than a synth score and a few bad-ass characters to emulate the thrills of his movies. "Tower Block" is a riff on "Assault on Precinct 13" but where Carpenter's film had a police station about to be shut down which found itself under siege from an L.A gang, here it's a London tower block which is on the verge of being demolished. The last remaining residents, conveniently for the plot, are those residing on the top floor.
The film kicks off with a teenage boy beaten to death by two thugs in the hallway of the top floor. Smith tries to help but receives a beating for her troubles and when the police ask for witnesses she, along with the other residents, deny any knowledge to keep themselves safe. We then cut to three months later and the residents wake to find a sniper has them pinned down from an adjacent building. From here the limits of credibility are stretched. Somehow the sniper has found the time, in just a few hours, to rig the building with booby traps and, of course, knock out cell-phone coverage.
The tenants come up with various plans to escape their predicament but never think of the more obvious ideas like writing a message on a bedsheet and hanging it from a window. They consistently talk about how nobody will ever find them as though they were on a remote island in the Pacific rather than in the middle of the largest city in Europe.
Along the way we get several twists and turns resulting in an awkwardly handled final reveal of the sniper's identity. Like most British films, the movie's strongest point is it's performances. O'Connell is particularly enjoyable as a chav version of Precinct 13's Napoleon Wilson. The central idea had potential but it seems co-directors Nunn and Thompson lack the ingenuity to pull it off. If Carpenter's film is a smooth ride in an elevator, this is a tough slog up the stairs. Take the lift.
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