Men (2022)
Men
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Why watch this film?
In 2014, filmmaker Alex Garland became a kind of sensation among cinephiles because of 'Ex Machina', an intelligent feature film about technology, artificial intelligence and the advancement of machines. However, afterwards, the British director was unable to repeat the feat with 'Annihilation'. Thus, 'Men' becomes a defining film in his career. The plot follows the story of Harper (Jessie Buckley), a woman who has just gone through a traumatic experience: not only did she have an abusive relationship, but she also saw her husband die right in front of her. In search of solutions, she rents a house in the English countryside looking for a little more peace and, who knows, forgetting these events. 'Men' starts off very well: not only is Buckley ('I'm Thinking of Ending Things') really good in this surrealistic character, trying to deal with traumas while everyone around her works against this overcoming. The scenes with Rory Kinnear ('The Imitation Game') help to further boost the good initial experience with the feature film. In addition, Garland creates an interesting atmosphere of terror. Not only by the game of green and red colors, contrasting the sensations according to the environments in which Harper is, but also by interesting light games and scary visual jokes. The mysterious and naked man who appears at the beginning creates some truly terrifying scenes. However, gradually, it embraces the same tone adopted in 'Annihilation': surrealism mixed with a social story about machismo and abusive relationships, while signs sprinkle the plot and make it difficult to understand. A movie that should leave people on edge.
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Plot summary
In this new feverish horror from filmmaker Alex Garland, a woman travels to the English countryside after a personal tragedy. Gradually the village becomes more and more strange and her rest becomes a nightmare of her darkest memories and fears.
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From the same director
Ex Machina
Provocative, creative and intriguing, 'Ex Machina' is one of those productions that makes the viewer think from start to finish. More specifically, about the paths of technology. After all, filmmaker Alex Garland plays with the meaning of life by telling the story of an employee of a large technology company (Domhnall Gleeson) who will spend a few days at his boss's house (Oscar Isaac). The reason? Test a new artificial intelligence (Alicia Vikander). In a much deeper way than 'Her' did, for example, the feature film brings an existentialist debate that goes back to the very creation of humanity. What are the limits of artificial intelligence? Should we have ethics with machines? How to deal with these almost human robotic beings? These are some of the questions Gibney raises, without almost ever answering, instigating the audience from start to finish.
Civil War
After a successful career as a screenwriter in films like 28 Days Later'and Never Let Me Go, Alex Garland has built a reputation as a director with movies such as Ex -Machina, Annihilation, and Men, each seeking to raise questions about identity, oppression, and power dynamics in their own way. Civil War takes these reflections not so much to the battlefield (as its title might suggest) but to the field of journalism. The plot, in the form of a road movie, is set in a near-future dystopia where political polarization in the United States has divided the country into warring factions under a corrupt and authoritarian government. With the president (Nick Offerman) nearing defeat, a group of veteran journalists (Kirsten Dunst, Wagner Moura, and Stephen McKinley Henderson), along with a young photographer (Priscilla's Cailee Spaeny), decide to embark on a dangerous journey to secure an exclusive interview and document the progress of the war. Rather than reflecting on political polarization in the United States, Garland's approach is more of a reflection of the role played by journalism and the media in this regard. Perhaps it doesn't say anything truly new or profound on the subject, and its fascination with the political deterioration of the American nation is almost exploitative. But as entertainment, it's a truly absorbing movie, and the entire cast is phenomenal.
Annihilation
'Annihilation' is worthy of merit for its mix of genres: science fiction, horror, drama, and adventure all come together in a production with a great cast, including names like Natalie Portman and Oscar Isaac, for example. Ambitious, the film bears the signature of Alex Garland (of 'Ex Machina: Artificial Instinct') and succeeds in delivering an interesting visual and good scares, as well as taking the audience on the proposed adventure. Perhaps what is lacking is a greater development of the characters and the screenplay itself. Even so, it deserves to be seen by fans of this type of feature film.
Horror
The Nightman
The Nightman a dramatic thriller that explores the dangerous boundary between love and darkness. The story follows a young pregnant woman who begins to question the perfection of her boyfriend upon discovering his possible involvement in mysterious disappearances and murders, linked to his sleepwalking behavior. With praised performances and precise direction, the film delves into complex themes of relationships and personal dilemmas, keeping the audience engaged in its dark suspense.
Abigail
Abigail demonstrates why we should keep an eye on the director duo Matt Bettinelli-Olpin and Tyler Gillett, especially when they have original material at their disposal (they also directed Scream 5 and 6, with mixed results). Abigail is a film that manages to balance the terror and tragedy of its characters with the absurdity of its premise, thanks to a clever script that plays with the conventions of vampire literature, careful direction, and a phenomenal cast (led by Mexican actress Melissa Barrera and Dan Stevens) that fully utilizes their roles. The plot follows a group of kidnappers tasked with a delicate job: to kidnap a millionaire's daughter for ransom. However, it all turns out to be a trap: beneath the guise of a 12-year-old girl, the victim is actually an ancient vampire who likes to play with her food. Like Ready or Not in its time, this film is self-aware, pushing its story and violence to the most absurd and fun limits without falling into self-parody. It won’t change the history of horror cinema, but it’s an excellent (and even stylish for a film of its genre, I dare say) choice for a fun time at the movies with friends.
28 Days Later
Twenty-eight days after a killer virus was accidentally unleashed from a British research facility, a small group of London survivors are caught in a desperate struggle to protect themselves from the infected. Carried by animals and humans, the virus turns those it infects into homicidal maniacs – and it’s absolutely impossible to contain.
The Jack in the Box Rises
When Raven is sent to an all-girls boarding school, she unleashes a demon from a mysterious vintage jack-in-the-box hidden on the school grounds. Will the students make it out alive, or will the demon claim the victims it requires to remain alive?
