Watch: Men 2022 123movies, Full Movie Online – A young woman goes on a solo vacation to the English countryside following the death of her ex-husband..
Plot: In the aftermath of a personal tragedy, Harper retreats alone to the beautiful English countryside, hoping to find a place to heal. But someone — or something — from the surrounding woods appears to be stalking her, and what begins as simmering dread becomes a fully-formed nightmare, inhabited by her darkest memories and fears.
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|6.1/10 Votes: 37,189|
|68% | RottenTomatoes|
|65/100 | MetaCritic|
|N/A Votes: 509 Popularity: 195.304 | TMDB|
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“Men is undoubtedly one of the most unique, macabre, weird, expectedly divisive films of the year.
Rob Hardy’s cinematography is truly impressive, navigating viewers through eye-popping visual details with the help of mesmerizing makeup and VFX. The score by Ben Salisbury and Geoff Barrow is also quite atmospheric and haunting.
Nevertheless, Alex Garland exhaustively repeats his obvious, heavy-handed message to the point of losing all emotional connection with the underdeveloped protagonist. The last act focuses too much on excessive, unpleasant gore to prove a point over and over again unnecessarily, functioning as a distracting, underwhelming conclusion.
Jessie Buckley – extraordinary – deserves much better, as does the versatile Rory Kinnear, who plays multiple roles.”
“Harper” (Jessie Buckley) heads off to rural Gloucestershire in England to take a break after the apparent suicide of her husband “James” (Paapa Essiedu). On arrival at the manor house she has rented for a fortnight, she is welcomed by the typical country squire type in “Geoffrey” (Rory Kinnear). She goes for a walk, during which she notices that she is being followed – and the man following her is naked. Spooked, she returns to her home to find that this is just the start of some seriously bizarre goings on in this tiny hamlet. What flaws this all from the start for me is that we see everyone in this community – the policeman, vicar, schoolboy, pub landlord as variations of the same man – Kinnear, yet the “Harper” character does not seem to clock this; she certainly doesn’t acknowledge it, and that just doesn’t work for me. If I were in a village where everyone looked the same, I’d have been out of there in a shot. Anyway, she lingers on for a while as things become more perilous and she is clearly the focus of the malevolent intentions of this creature – and it all builds to quite a clever feat of special effects and not a great deal else. There is a largely undeveloped underlying plot line about her on-the-rocks marriage that may have had some bearing on the conclusion, but to be honest I was rather bored by the repetition of it all by then. The exterior photography is nice enough and Buckley is competent, but Kinnear’s roles are all about the skills of the make up artists. The dialogue is nothing special leaving the score to work hard to try to create a sense of peril that, in the end, I felt was just … lacking. It’s no worse than many of the recent Blumhouse efforts, but that doesn’t make it very good, either.
Simultaneously too much and not enough
The climax of “Men” has a certain sequence that can only be described as grotesque – it was a real labor of love, if you will (read between the lines, my friend). And seeing this specific scene take up the entire width of the silver screen in extreme closeup was not something I particularly expected, or wanted, to see in theatres. However, in a weird way I admired this film for throwing caution to the wind – “Gosh darn it,” this movie seems to say, “You’ll watch what I want you to watch, and you’ll like it!” And so I didn’t mind the initial sequence, until director Alex Garland portrayed it three more times.
“Men” is simultaneously an exercise of too much and yet not enough. Because when Garland goes for it, he really goes for it; throwing everything and the kitchen sink at his audience in terms of visuals and sound design, on one hand this movie satisfies on a purely primal level. Crisp, bright colors permeate this movie, and coupled with the booming and borderline intrusive score, you have something that your eyes and ears will happily soak up. And in fact, from the moment this film started I was immediately in awe of just how good it looked. But on the other hand, all the visuals and sounds in the world can’t make up for a poor plot, and “Men” has a poor plot.
Well, let me backtrack. The plot isn’t inherently poor – actually, it’s pretty interesting. Starring the beautiful Jessie Buckley as Harper, “Men” follows her as she retreats to a vacation home in the English countryside after experiencing a personal tragedy. Things just seem to go from bad to worse for poor Harper, though, as she soon stumbles across a town where the men look strikingly similar. It’s an intriguing premise, especially since the film employs a heavy use of emotional dramatic tension to drive the story forward. You’ll find yourself invested in the puzzle that’s being put together before your eyes, and engaged in Harper’s story and the very human drama that comes from it. And with this expert combination of horror and drama, “Men” seems to make you a promise of a satisfying conclusion. And would you be surprised if I told you that “Men” doesn’t deliver?
Looking past the striking visuals, euphoric soundtrack, and Oscar-worthy acting from Jessie Buckley, you have yourself a movie that lacks development. Too long on the draw, the movie takes its time in setting up its main character. In doing so, the film becomes, primarily, a character piece with thriller elements to it – in fact, the horror doesn’t really kick in until the latter half of the movie. This wouldn’t be a bad thing if the movie actually had a satisfying story that tied the drama and horror together in a conclusive way, but it doesn’t. Instead, “Men” feels like two separate movies: a study of grief, and a home invasion thriller. And to be honest with you, the purely dramatic sections of this movie were my favorite simply because the horror elements felt like a narrative afterthought.
Sure, you’ll get all the suspense and bloodshed you want out of this type of premise; you’ll also get a stunning lack of explanation as to why what’s happening is happening. Actually, strike that. You will get an explanation, one that you’ll find in one of the laziest cop outs for an ending that I’ve seen in quite some time. With the subtlety of an atom bomb, the ultimate reveal is uncreative to the extreme. Put it this way: I had my suspicions that the movie would go in the route I thought it was going in, and when my suspicions were confirmed, I couldn’t help but groan.
“Men” crumbles under its own weight with a unique premise that the filmmakers, clearly, didn’t know what to do with. A lack of satisfying narrative development means that “Men” doesn’t wholly succeed as either a drama or a horror film. However, it’s so well acted, so pretty to look at, and so nice to listen to that I can’t outright reject this movie, because I will certainly be watching this again at home one day. My recommendation? Give this a watch solely for its sights and sounds, and temper your expectations in terms of its storyline. Doing so, you may find just enough to like, but not enough to love.
What the @!?$ did I just watch?
This movie has a very creepy mood and sets a tone for a typical horror movie, with a bit of art-house touch to it. For the majority of the movie it feels like you are watching a creepy horror movie like so many others, but it gets really bizarre in the end, and it just makes no sense. Trying to not spoil it, but the last ten minutes is just some weird Freudian symbolism, and body horror that left me wondering what the point of this whole thing was. I’m guessing there is some message about toxic masculinity or misogyny in there but I really couldn’t parse it out of the nonsensical ending. This might be worth watching when it hits streaming, but I wouldn’t pay full price for a ticket.
Original Language en
Runtime 1 hr 40 min (100 min)
Genre Drama, Fantasy, Horror
Director Alex Garland
Writer Alex Garland
Actors Jessie Buckley, Rory Kinnear, Paapa Essiedu
Country United Kingdom
Awards 1 win & 6 nominations
Production Company N/A
Sound Mix Dolby Digital
Aspect Ratio 1.85 : 1
Camera Phantom Flex4K, Sony CineAlta Venice, Panavision H-Series Lenses
Laboratory Molinare, London, UK (color) (finish) (digital intermediate), Warner Bros. De Lane Lea, London, UK (digital dailies) (dailies processing) (digital intermediate)
Film Length N/A
Negative Format AXS-R7, CineMag
Cinematographic Process Digital Intermediate (4K) (master format), Phantom RAW (4K) (source format) (high-speed shots), X-OCN ST (6K) (source format)
Printed Film Format D-Cinema, DCP Digital Cinema Package