Men: Faces do Medo

I've seen some out there films in my time, believe me. But 'Men' is very close to taking the cake. I actually found myself in a mild sense of shock after the film. An usher asked me how it was and I didn't know what to say. I was genuinely lost for words. This movie is a ride.

I love a film that is willing to push boundaries. I love even more a film that simply has no boundaries. That's what this was. By the end there was nothing that could come on screen that would've surprised me. It may have shocked me, but it wouldn't have surprised me.

I get the general metaphor the film was going for. I tried not to overthink it because I don't think that's the wise thing to do. It makes sense though, at least on a base level. Not everyone may agree with it, but that's the beautiful thing about a perspective, you can't be wrong.

A small critique I had, and this will sound strange, but when the film is at its most shocking near the end, it is in a way at its least shocking too. Because before this the absurdity was at least kind of plausible (in a movie universe at least). However once the movie goes completely off the walls it's kind of easy to sit back and just say accept the ride, knowing that nothing is realistic any longer. Hopefully that made sense.

I really enjoyed this film, but not everyone will - I have never been more certain of that. There were a couple of women in the row in front of me who I expected to get up and leave at any moment. They stuck it out though and good for them. If you're up for it, I recommend this one. 8/10.

First off, let me say, that was the strangest ending to a film I think I have ever seen. How this movie got an R rating is beyond me because it is graphic! Secondly, what the hell did I just watch??? The movie was going so well for the first hour or so, beautiful cinematography, a sweeping sound mix and some very brilliant acting and writing all around. But then things start to get... weird. It completely loses it's footing and the film turns into what I can only describe as the worst allegory for depravity and misogyny I think ever put to film. It just didn't make any sense and the more I think about it, the less sense it makes. There is no outright conclusion, only a bunch of nonsense thrown at you in hopes that you'll think it's cool, but it comes off as pretentious and pandering. I would've loved to know what happened afterwards, but alas the movie is unfinished. If you do go to see this one, be prepared for an ending that will either leave you gagging or wanting. It really leaves nothing to the imagination and everything to your imagination at the same time. I only recommend it for the strong acting and beautiful camera work, but other than that, the film falls flat on it's face in the last half hour. 2.5 birthings out of 5.

Greetings again from the darkness. This is only the third feature film directed by Alex Garland, but his creativity and innovative nature in the first two (EX MACHINA, 2014 and ANNIHILATION, 2018) established him as a writer-director to follow. His latest is certainly deserving of those descriptions, yet it's also less assessable while being more open to interpretation and worthy of discussion. Reactions from viewers are sure to be varied.

Jessie Buckley, one of the finest actors working today, takes on the lead role in yet another of her unconventional projects. We absolutely respect and admire her risk-taking, and each project benefits from her presence. Some of her recent work includes THE LOST DAUGHTER (2021), I'M THINKING OF ENDING THINGS (2020), WILD ROSE (2018), and a great arc in the "Fargo" series (Season 4). Here she stars as Harper, a Londoner heading to holiday in the English countryside after the death of her husband. When she arrives at her bucolic Airbnb manor, the serenity is apparent ... right up until she meets Geoffrey, the landlord. He's played by Rory Kinnear (Tanner in the recent James Bond movies, and excellent in the "Penny Dreadful" series and its spinoff). Geoffrey's awkward social skills involve colloquialisms and country charm to ensure that Harper knows she's no longer in London.

The country manor is walking distance to town (which apparently consists of a church and pub), and sits alongside a forest, seemingly perfect for nature hikes. Harper's first walk in the woods has a fascinating scene as she experiments with the echoes of a tunnel by singing notes in harmony with herself. This simple pleasure ends when she notices a nude man apparently stalking her. After calling the local police, she heads to the church where she encounters a rude boy and a vicar who is unsympathetic to her plight. All of these interactions could fit into an interesting story, but filmmaker Garland takes things to another level. Geoffrey, the stalker, the cop, and the vicar are all played by Rory Kinnear ... even the boy! Later, we see that Kinnear even plays the pub's clientele. Since it's obvious to us, and she doesn't seem to notice, we can assume this is a major clue for how we are to interpret what's happening with (and to) Harper.

Flashbacks are employed so that we are able to piece together the strained relationship between Harper and her husband, James (Paapau Essidieu). Her emotional turmoil plays into what's happening during this rural getaway meant for relaxation, yet often this has a surreal or dreamlike feel, making it challenging to know what is real or what she is imagining. Harper holds the occasional FaceTime with her friend Riley (Gayle Rankin), and the broken signal on these calls may or may not be real ... like so much of what we see. Garland's third act goes a bit bonkers, and includes some icky body horror effects ala Cronenberg. The mythology of Sheela la nig and The Green Man (rebirth) are part of the numerous uses of symbolism throughout.

The film is beautiful to look at thanks to the cinematography of Rob Hardy, and the frequent use of vibrant green jumps off the screen during many scenes. The atmosphere created is primed for something that may or may not pay off by the end, but it's certainly another artsy creep-fest in the A24 universe. Ms. Buckley proves again what a talent she is, and Mr. Kinnear joins Peter Sellers ("Dr. Strangelove"), among others, in mastering multiple roles. Lesley Duncan's spiritual and melancholic "Love Song" is the perfect accompaniment for Harper's drive, and Kinnear's frequently appearing face enhances the myth that men are all the same - a constant threat lurking for women. Folk horror resurgence continues, and viewers will have to decide if they can reconcile the abundance of symbolism.

Exclusively in theaters on May 20, 2022.

Generally, I'm not a fan of cinema as metaphor (got halfway through the mess that was 'Mother!', spotted the metaphor and switched off), but this was so well done that I couldn't look away.

Which says a lot considering there's a couple of scenes in there that ain't for the squeamish. I'd recommend this not just for the deep sense of unease it stirs up (again and again) and the disturbing shots scattered throughout, but also the setting, the effective use of music, the performances and the metaphor itself. Visceral, affecting and deeply unsettling.

Anyone looking for run-of-the-mill horror might do better to avoid this one, but if you're in the mood for something with a little more substance beneath the surface give it a watch. At the least you'll be entertained.

In the same vein as the trippy 'Mother', it has elements of religious symbolism, portrayals of toxic masculinity and themes of nature, rebirth and body horror.

There's a lot of suspense built up at the start before it dives headlong into the crazy which somewhat ruins the movie.

Reminded me of a Ben Wheatley movie (not necessarily a good thing). And the CGI face of Rory Kinnear on the youth is laughable.