Men - Ambiguity Lingers in this Horror

WorthAWatch Rating: 7/10

Men (Garland, 2022), Jessie Buckley as Harper Marlowe

There is something unusual and off-beat about Alex Garland’s new film, Men. The opening scenes are suspiciously tranquil and feel so far from the typical horror genre style we have come to expect. We watch as Jessie Buckley’s Harper Marlowe drives through the unmistakably British countryside demonstrating the natural beauty on show in what seems like it could be a TV car advert with its mix of close-ups and panoramic shots. As we watch we continually wait for some sort of dread, as it is hinted in flashbacks that our heroine is experiencing trauma due to her ex-husband’s death. The tension and oddness that Garland and his crew create are what gives Men its allure.

The film follows Harper as she sets off to rural Gloucestershire to stay in an old mansion for a couple of weeks, seeking a change in scenery following her ex-husband’s abuse and eventual suicide (or accidental death – she is not sure). However, after a walk in the forest, a naked man seems to be stalking her. This leads to further trepidation after encounters with other odd characters, all of which seem to share a certain distinct characteristic.

The quintessentially British nature of this film brings back memories of other classic horrors that use the countryside as a distinct setting. Men shares some particularly striking similarities with An American Werewolf in London (1981), as they both use the isolation of their scenic surroundings as a crucial story device. The Wicker Man (1973) also seems an obvious inspiration for this film, as there is something quite odd about the town in which Harper finds herself – the people are strange, and the location is foreign. While Men shares similarities with these films it retains its individuality and has something new to offer, and for these reasons it succeeds.

After the relative accomplishments of Ex-Machina (2014) and Annihilation (2018), Garland has maintained an engaging filmography. Each film, including Men, posit existential or serious questions to viewers in ambiguous forms. With Ex Machina, it focused on the morals and threat of artificial intelligence, with Annihilation it was concerned with cosmic horror and the decay of life. The writer-turned-director has become known for this deliberate attempt to allow his films to be open for interpretation and Men takes this to a new level, which is both good and bad.

To allow for subjective thought to fester, Garland writes a plot that has its strengths but is also confused and somewhat mangled. The dialogue, at times, ranges from meticulously written funny (or just weird) moments to occasions on which characters slowly, but cleverly, reveal their true selves. However, the dialogue is also rather pretentious with certain lines that feel out of place - references made to the story of Leda and the Swan come to mind. Garland presents a story that is not entirely clear on what issue it’s confronting. Is it to do with generational misogyny – that men are inherently evil, driven by a lust for ‘love’? Is it to do with the inescapable inevitability of trauma and the psychological suffering that follows? Whether this ambiguity is a problem or a positive is subjective. Nonetheless, in my opinion, the film would have benefitted from some further clarity in the final act. Whichever way you see this, other problems with the film remain, as plot inconsistencies are prevalent.

Where Men particularly shines is with its particularly well-orchestrated horror scenes. The filling sense of dread is encapsulating, and the film’s crew is effective in generating scares without the use of cheap genre tropes. Distorted camera angles showing a narrow perspective as well as the revealing of the horror to the viewer before the unbeknownst victim is aware, particularly during home-invasion scenes, creates genuine fear. Adding to the positives is the mesmerising cinematography on display. Beautiful panoramic shots fill the canvas of the cinema screen, as a vibrant, idealistic colour palette supports this with nature being an important facet throughout. Garland’s regular collaboration with cinematographer Rob Hardy continues for Men and their work here is a testament to the progress both have made throughout their shared productions.

While Garland and his crew’s collective efforts are on show, it is actor Rory Kinnear – who featured in four of Daniel Craig’s Bond films - that steals the spotlight. He is introduced to us as Geoffrey, the quirky, oddly charming gentleman that owns the mansion Harper is holidaying in. Looking different from his usual self, with ragged teeth and hair, Kinnear plays this character convincingly. What we soon learn is that the actor also portrays other characters. The fact he plays each of these so convincingly is a testament to his acting skills in what is his best performance yet. Jessie Buckley also offers a laudable performance as she believably represents a woman going through trauma and a whole host of emotions. Buckley and Kinnear, especially, take this film to another level.

With Men, Garland has extended his commendable filmography and A24 has another original film to extend their ever-growing list. While the plot has some inconsistencies and may be too ambiguous, or disgusting, for some, it revels in its mesmerising cinematography and diligently crafted horror scenes. Kinnear’s performance in particular is deserving of praise and is arguably a reason in itself to watch this film. Men is a refreshing take on the often-stale horror genre and for this reason is worth a watch.