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.

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