| A24 | Release Date: May 20, 2022 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
31
Mixed:
23
Negative:
1
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Critic Reviews
May 20, 2022
PolygonMay 9, 2022
Men is nearly unique as a horror movie in Harper’s specific response to the threats she faces. But even as she parts ways with the usual wailing victim image, the film still holds onto its sense of the uncanny and horrific. Even seasoned body-horror fans may be shaken by where this film goes in terms of its bloody physicality.
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May 19, 2022
As with “Annihilation” before it, the more surreal Men gets, the less frightening and more melancholy it becomes; it’s as if the movie were peeling back the skin of its chosen subject to reveal the diseased, writhing and frankly pitiable mess underneath. And Garland, like a coroner performer an autopsy, surveys his specimen with clinical rigor, gallows humor and the faintest hint of sorrow.
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May 27, 2022
May 23, 2022
Anchored by a haunting lead performance by Jessie Buckley, Men is an unsettling drama about the cultural pathology that holds women responsible for the actions of men, focused not so much on how it feels but on what it does. It’s quiet but visually verbose, mixing obvious and obscure metaphors in a way that would get tiresome if not for its modest 100 minute runtime.
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RogerEbert.comMay 20, 2022
May 19, 2022
There are times when Men comes across as being trippy and bizarre for the sake of easy scares, but thanks to Garland’s keen sense of pacing, the typically outstanding work from Jessie Buckley as our heroine and a staggeringly good, multi-character performance by Rory Kinnear, this is unlike any other film this year.
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Movie NationMay 18, 2022
The writer-director and his star manage several chills, a bit of breathless suspense and some eyes-averting gore as they challenge us to stare down the threat of “Men” their EveryWoman faces and confronts. And they put us in her shoes, shaken by their violence, handicapped by her own empathy and guilt until she sees the Big Societal Picture — the cruel manipulation of a system engineered to keep her from “the forbidden fruit” and under control.
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SlashfilmMay 9, 2022
ColliderMay 9, 2022
It is exciting to watch a writer and director like Garland take a huge swing like Men, even if it doesn’t entirely hold together as tightly as something like Ex Machina or Annihilation. Men is certainly more about asking questions than providing answers, a challenging, strange, and often horrendous journey that certainly doesn’t hold back in terms of weirdness, and wants to crawl into the viewer’s brain.
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May 9, 2022
More disappointing, maybe, is how much the story takes Buckley's agency away as it goes on, her defiant, sharply defined presence in the first hour giving way to the bog-standard helplessness of every woman trapped in a horror movie. Men's eerie, encompassing mood lingers; the rest is a mystery.
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May 24, 2022
As a movie about the subjective fears of a woman on her own, being hunted or haunted by male violence both commonplace and supernaturally eerie, the movie basically works: Your heart races, you’re skeeved out, you’re crawling out of your skin. As a movie about why those men are the way they are, which is an idea that occupies a substantial chunk of its runtime, well…
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May 18, 2022
With Men, the British filmmaker is stubbornly needling his audience with a never-ending barrage of pointy-ended questions that he has neither the inclination nor intention of vaguely addressing or even thinking through on his own terms. Men is a riddle wrapped in a mystery inside an enigma, all scrawled in crayon.
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May 19, 2022
May 9, 2022
Men, from Ex Machina and Annihilation director Alex Garland, is a folk-horror movie about gendered trauma that quickly falls apart. It skillfully builds tension in its first half — with the help of brilliant lead performances — only to have that tension dissipate when its inventive metaphors become consumed by traditional staging and literal explanations.
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The IndependentJun 2, 2022
Garland’s film, at times, feels a little like provocation for provocation’s sake. It suggests that all a male filmmaker needs to do to earn his feminist credentials is to show us men doing bad things. Think Bugs Bunny chomping on his carrot and, with a wink to the audience, declaring, “ain’t I a stinker?”
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