Review: ‘Men’ is a muddled metaphor about the power of patriarchy, or something.
In a stirring evocation of the common Twitter rejoinder “yes, all men,” the titular men of the new film, a workhorse character actor getting quite a showcase here, plays a creepy groundskeeper, a creepier priest, a gruff barman, and, most unnervingly, a little boy, among others, inThere must be a point being made here. The film’s protagonist is a grieving woman named Harper who’s rented a country house to recuperate from the loss of her husband.
What the film does well, and what Garland always does well, is create a palpable mood of dread and unease. The cozy serenity of the home Harper checks into is just about immediately disrupted by her unsettling interactions with the caretaker. Contemplative walks into the woods become frightful encounters with the sinister hum of nature and with, well, lurking men.
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