Alex Garland’s Humans is a wild, visceral, and internally complex film.

There’s body horror, and then there’s The Men, a violent and complex movie that will make your guts dance.

A provocative and daring Men crescendos film in a wild climax that isn’t exactly “The Human Centipede” but isn’t “not” The Human Centipede either.

With a stunning scene that is visually, emotionally, intellectually and, I must say, internally complex, Men writer/director Alex Garland won’t hesitate to make you feel a bit nauseous.

His work, including films From the car as well as Annihilation and miniseries Developersare both cerebral and experiential.

They will always evoke an inner feeling right inside you, triggered by an emotional reaction that you don’t expect, while simultaneously trying, sometimes unsuccessfully, to organize the story logically in your mind.

Just like that finale in Men, a scene that, without spoiling too much, includes blood, amniotic fluid, body horror, and a hell of a lot of writhing motion. This is a classic garland.

Men starring the incomparable Jessie Buckley as Harper, a young woman who hires an idyllic English country estate for two weeks. Harper recently went through a tragedy involving her ex-husband James (Paapa Essiedu), and this holiday should be a break for Harper to heal and take care of herself.

Upon her arrival, the owner of the house, Geoffrey, gives her a tour, he is an affable, friendly, but paternalistic guy. Small comments and “jokes” about original sin and Harper’s name baffle her. It’s not overt, but the hidden undertones of occasional sexism are always there.

Harper goes for a walk in the surrounding woods and feels a malevolent presence haunting her. The village vicar claims to be helping but denounces her for her husband’s fate, a wayward schoolboy calls her names, and a male police officer reduces her well-founded fear.

A quirky country getaway turns into a horror movie as it exploits the horrors women experience day in and day out, from mild anxiety to outright danger. Certain scenes evoke the same familiar pulse rush that accompanies the sound of heavy footsteps on a dimly lit street.

This effectively demonstrates that patriarchy and misogyny are everywhere, thanks to Scottish actor Rory Kinnear (Skyfall, peterloo) to play all male characters except for Harper’s husband, and tying him back to the Pagan Green Man.

The fact that every man and boy in the village has the same face is never commented on in-universe, and for most of the final act you wonder if everything that happens to Harper is a living nightmare or just a nightmare.

And still Men probably Garland’s least successful venture. The film’s #YesAllMen theme lacks the nuance to truly confront the issue of gender violence, microaggressions, and toxic masculinity.

Garland has never been known for meekness or restraint, so his choice is easy to understand. Men in his wider work.

If Garland wants to address the primal, cyclical nature of misogyny, he is going to resort to this climactic scene, he will literally be in his executions just as he was in Annihilation forcing Natalie Portman’s character to confront her doppelgänger.

But even for Garland, it feels a little awkward, and it’s like he missed the opportunity to be as respected in his storytelling as he is ambitious in his cinematic vision.

Bye Men flawed and ultimately a little underwhelming, there’s no denying that this is a unique, bold and stimulating film that challenges you in every way – that’s what Garland does best.

Rating: 3/5

Men are in theaters now

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