by Jeffery Rahming, Contributing Writer
Writer-Director Alex Garland has made his name in Hollywood with some of the most cerebral science fiction films of the last decade. Now he’s trying out a new genre: horror. From the vague, yet ominous trailers, one could be forgiven for thinking that Men was just a feminist remake of Get Out. And while there certainly are some parallels that could be made between those two films, Garland’s distinct, dreamlike style makes Men a unique experience that viewers won’t soon forget.
In Men, we follow Harper (Jessie Buckley), a young woman trying to recover from a tragedy she feels may have been her fault. She escapes to a cottage in the English countryside in hopes of getting away from her trauma, and instead finds herself in a metaphorical hell as she’s haunted by a mysterious man she can’t seem to get away from.
This movieis many things, but subtle is not one of them. The male characters are all representative of different stereotypical traits of toxic masculinity. Throughout the film, Harper is subjected to many uncomfortable experiences, including being stalked, harassed, and gaslit by some of the men in the village. While the multiple microaggressions throughout the story may make the message feel a bit heavy-handed, it illustrates how men can often impose their desires on women without consideration for their wants or needs.
The allegory and interesting ideas aside, this is still a horror movie, and while it starts as more of a psychological thriller in the beginning, it eventually evolves into more traditional horror as the movie goes on. In many ways, the whole film is reminiscent of a nightmare where you know something’s off but you can’t quite place what it is. It’s filled with bizarre and disturbing imagery that ranges from completely absurd to uncomfortably realistic with a haunting score that enhances the unnerving atmosphere of the film. Men has some of the most graphic and gory scenes I’ve ever seen. It’s not for the faint of heart, especially once it reaches its third act, which is so unsettling that it almost risks becoming comedic in how far it’s going.
The performances of the film’s four-person cast are all great, but of course, it’s the two lead actors who really bring their A-game. Buckley is incredible as Harper giving us a memorable, sympathetic protagonist. Rory Kinnear delivers a masterful performance as he portrays multiple characters throughout the film and manages to make them all feel distinct. His performances range from endearingly innocent, to absolutely deranged, and everything in between. Both of them give award-winning level work here.
The movie is beautifully shot with Garland working with cinematographer Roy Hardy for the third time. Although it’s arguably their least flashy film, I think it is the best-looking one. Both in the creative way they use color and the use of shallow focus to achieve an almost painterly look in some scenes.
I don’t think this film is quite as interesting as Garland wanted it to be. As much as I enjoyed the story it told, it’s not saying anything particularly deep or exposing some unspoken aspect of misogyny. But the film does work as a mythic horror tale and it’s definitely an experience that you won’t forget about after you watch it (though you might want to, given how unsettling it gets.) While not necessarily a must-see for everyone, I think that any fans of A24’s horror films or Garland’s previous work will have a fun time with this one. It’s an incredibly visceral and thought-provoking experience that stays with you long after watching it.
Score: 8/10
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