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MEN – Review – We Are Movie Geeks

Review

MEN – Review

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(L-R) Jessie Buckley and Rory Kinnear in MEN. Courtesy of A24.

A woman alone in a secluded old house, who is being terrorized, is a standard of horror films but director/writer Alex Garland crafts a far different, mind-bending film from that familiar premise. In MEN, toxic masculinity and patriarchy play a major part in the horror.

Alex Garland, whose credits include the scripts for 28 DAYS LATER and SUNSHINE, is a visionary filmmaker who has previously used science fiction to delve into philosophy and a dark side of technology in EX MACHINA, a film that touched on the classic theme of the male creator controlling a female creation, with references to Frankenstein, Pygmalion and the mechanical doll of The Tales of Hoffman. Now Garland turns to the horror genre and, likewise, MEN is no ordinary horror film, although it plays with many of the familiar tropes and types of the genre. On one level, it is a feverish nightmare, an unforgettable, queasy experience, but on another it is a symbolic-laden exploration of patriarchy and toxic masculinity, along with references to ancient folk symbols and myths surrounding lust, sex, fertility and birth.

The film opens with a shocking sight, of a man falling past a window. The falling man is James (Paapa Essiedu), the husband Harper (Jessie Buckley) was in the process of divorcing despite his emotionally-manipulative threats of suicide, although we don’t know if what we see is an accident or a suicide. Seeking a place to heal and grieve, Harper rents a manor house near a tiny village in the quiet English countryside, to be alone and process what has happened.

The stately old house is beautiful and the landscape around it is lush, green and idyllic, the perfect spot. Strolling up to the front door, Harper plucks an apple from a tree in the front yard. The biblical reference is not subtle and as she takes a bite from it, we feel a momentary disquieting shift. She enters the old mansion and begins to explore, and normalcy seems to return with the arrival of the genial owner of the house, Geoffrey (Rory Kinnear), a slightly awkward but likable country aristocratic type. As Geoffrey shows her around the house, he asks slightly intrusive questions about her personal life, questions she deflects while implying she is divorced rather an widowed. When the owner spots the partly-eaten apple on the kitchen counter, his ever-present smile fades, followed by the words “forbidden fruit,” but he quickly adds that he is joking, as the smile returns. We feel he isn’t and, in fact, disturbing things quickly follow.

Harper decides to take a walk in the intensely green woods around the mansion, which leads her to an abandoned old railroad tunnel, where she lingers, playing with echos. That is until she spots a strange man, naked and scratched, at the other end, who then follows her back to the house. Although the police take him away, the incident starts a chain of disturbing events, as the film ratchets up the tension.

What unfolds is a surreal, head-spinning horror film experience steeped in myth and archetypes of masculinity while exploring aspects of the connections between men and women. Garland keeps the tension high throughout, as events become increasingly disturbing and nightmarish, heavily laden with symbolism, much of it drawn from folk traditions, particularly the ancient Green Man and mysterious sexual female image Sheela-na-gig.

The acting is superb, particularly Kinnear, as is the film’s masterful use of framing, the wildly lush sets and locations, and gorgeous photography, all suffusing a film of unrelenting tension. Some scenes, particularly the mind-bending climax, are disturbing to watch and graphic. although not in the usual horror film way.

After the encounter in the woods, Harper faces a series of increasingly unsettling encounters with men in the village, who demonstrate an array of sexist, patriarchal and toxic masculinity behaviors. They all share a version of the same face, including a malevolent 9-year-old boy. While the manor owner is merely awkward, others are more offensive, with a police officer who dismisses Harper’s fears, or even sinister, like the threatening boy and a vicar who seems at first to offer sympathy but quickly shifts to sexist critique.

The men in the village are all played by Rory Kinnear, with the aid of various prosthetics, wigs and false teeth and plenty of nudity. It is a brave, impressive multiple role performance by the lauded British actor, who crafts distinctly different characters for each role and endured some daunting physical challenges for them. Kinnear is famous in Britain for his stage work and as a member of the Royal Shakespeare Company but he may be most familiar to movie audiences from his role in the Bond movies as Bill Tanner or supporting roles on TV shows like “Penny Dreadful” and many others.

Jessie Buckley, whose career is soaring, especially after her Oscar nomination for THE LOST DAUGHTER, is on screen nearly throughout the whole film. The film is a real acting tour-de-force by both Buckley and Kinnear, but while Buckley is excellent, this film may be a star-making turn for the gifted but lesser-known Rory Kinnear.

Although Harper is alone in this rural house, she frequently chats with her supportive friend Riley (Gayle Rankins) who sometimes offers to join her. Periodically, we see flashbacks to Harper’s troubled relationship with her late husband James, in a nice performance by Essiedu. Both sequences add to our understanding of Harper and the trauma she suffered, but her character is explored in less depth than might be expected.

Of course, as the title indicates, this film is about the men who surround and menace her, men who are symbolic, facets and archetypes rather than real individuals, representing aspects of masculinity and patriarchy. The film offers up both presentations of toxic masculinity and male privilege that have current day and recent historic reference, and ancient symbols of nature, sex, fertility and birth. But what exactly writer/director Garland is saying with all that is unclear, leaving it all to the interpretation of the viewer. The film is disturbing yet haunting, and puzzling, while it is also a polished, terrifying horror film.

MEN opens in theaters on Friday, May 20.

RATING: 3 out of 4 stars