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Children of Men

U.S. Release Date: 12/25/06
Running Time: 1:49
Rated: R (Violence, profanity, brief nudity, drug use)

Cast: Clive Owen, Julianne Moore, Michael Caine, Chiwetel Ejiofore, Claire-Hope Ashitey, Pam Ferris, Danny Huston, Peter Mullan

Director: Alfonso Cuarón
Screenplay: Alfonso Cuarón, Timothy J. Sexton, David Arata, Hawk Ostby, Mark Fergus, based on the novel by P.D. James
Music: John Tavener
Studio: Universal Pictures

Once in a great while, a film comes along that redefines a genre and sets a new standard for superiority. Children of Men is one of these films.

Easily the best “science fiction” feature since Blade Runner, Children of Men is a new-age, edge-of-your-seat thriller that is gripping from beginning to end. If you have one-hour-and-forty-nine minutes free, shift your eyelids to open mode and prepare to be thoroughly engaged.

During the year 2009, women became incapable of reproduction—leaving the present year (2027) “a world without children’s voices.” Cities have fallen to war, and humans have become inherently violent, corrupt, and depressed—knowing that their eventual extinction is eminent.

Theo Faron (Clive Owen) is recruited by his ex-wife and rebel force leader, Julian (Julianne Moore), to transport a young woman out of England. However, when this young woman is revealed to be a pregnant refugee named Kee (Claire-Hope Ashitey), the world is turned upside-down. Theo’s only allies in his quest to keep Kee protected from harm are a midwife named Miriam (Pam Ferris) and a pot-smoking political cartoonist named Jasper (Michael Caine).

Children of Men is a well-shot motion-picture—specifically, with long unbroken scenes, violent action sequences (that parallel Saving Private Ryan), and spectacular cinematography. One action scene in particular (that involves a motorcycle and car) is insanely innovative and honorable.

With his fifth major task in directing, Cuaron further showcases his fine abilities—also featured in Harry Potter and the Prisoner of Azkaban and Y tu mamá también. Cuaron’s insertion of thematic elements on sadness, wonder, and hope are placed in the forefront, while his pig reference to Pink Floyd’s “Animals” and other small inclusions provide for intriguing catalysts for thought.

Surely, Children of Men is a new opus to any science and public-policy colloquium. While it doesn’t address the whys or hows of the situation, it wisely spends its time focusing of the glimmer of hope. It has buckets of undertones delving into politics, sacrifice, and divine intervention. Overall, it is a principal illustration of how to create a faultless sci-fi film without succumbing to the typical bag of clichés.

Even though Children of Men may not be as faithful to the novel as die-hard fans expect, it is an absolutely flawless endeavor. It is an intense sight for sore eyes, a deeply thought-provoking composition, and a heroic tale that features a gritty protagonist who shockingly never picks up a gun. The film is authentically courageous, and in every way, an astonishing dystopian allegory.