High-Rise has style, and I'm not just referring to the spot on 70s sideburns-and-shag carpet aesthetic. It was a smart move on director Ben Wheatley and his wife, screenwriter Amy Jump's, part to make the movie adaptation of a 1975 novel a period piece, and not update it, especially since it allows to audience to focus more on grotesque satire of class divides and the Inherent Savagery Within Us, (accented by the effective contrast between gorgeous visuals and growing savage brutality), instead of being frustrated by the lack of cell-phone usage. Seen through a Kaleidoscope lens, the result is a bit pretentious, but I found the movie overall to be fascinating and disturbing, it's downbeat nature slightly levitated by a feminist-leaning ending.
Plus, if it took place today, what chance would there be to see a poster for the 1966 cult classic Morgan: A Suitable Case for Treatment, hanging on a major character's wall? Or to hear ABBA's "SOS" as a string quartet and a Portishead cover?