Children of Men (2007)

Overall Rating From 1 to 100: 96

Directed by Alfonso Cuaron
Clive Owen / Michael Caine / Julianne Moore
109 min. Action / Thriller
MPAA: R (for strong violence, language, some drug use and brief nudity)

Review by Jason Pyles / March 27, 2007

In celebration of today’s DVD release of “Children of Men,” I wanted to post this review for those who have not yet seen this film, because they should.

Though it is a rare thing, every once in a while a movie will contain a combination of elements that make it completely consuming to its viewers. “Children of Men” is one of those treasures, and it is excellent.

“Fargo” (1996), “Sling Blade” (1996), “Blood Simple” (1984), “The Godfather” (1972) and more recently, “The Departed” (2006) are similar examples of this phenomenon, just to name a few. Each of these is extremely entertaining and very well done.

And even though I love the popcorn movies, like “Jurassic Park” (which is remarkable in its own ways), those types of movies lack something that these films listed above have.

If I were to try to pinpoint a few of these mysterious conditions, I would venture to describe them as compelling, fictitious narratives illustrated with convincing realism. This is why films like “Children of Men” are so involving.

The year is 2027 (five years after “Soylent Green’s” setting) and the world is without hope. Inexplicably, the human race is no longer able to procreate. Mankind is dwindling toward extinction. A dark era has fallen upon humanity. The entire earth is discouraged. A popular product called “Quietus” enables peaceful suicides for those who wish to expedite the inevitable.

Theo Faron (Clive Owen) is among the hopeless, but he used to be a believer, a fighter, an idealist. The character of Theo is reminiscent of Bogart’s apathetic Rick character in “Casablanca” (1942). Both heroes follow the same path: the old flame shows up and sets their battling spirits ablaze, once again. “Of all the gin joints ... ” For Rick it was Ilsa, but for Theo, it’s Julian (Julianne Moore), the leader of a rebel group.

These rebels have a valuable secret: a pregnant woman named Kee (Claire-Hope Ashitey). The rebels kidnap and commission Theo to help Kee and her unborn baby get to safety with a mysterious organization called “The Human Project.” The film follows these two travelers’ perilous, exhilarating journey in the form of one big chase scene, and it reveals Theo’s change of heart as Kee’s baby ignites within him a glimmer of hope.

No, I didn’t just tell you the whole movie. Well, OK, maybe I did, but that was merely the premise; the trailers reveal as much. The core of this film is found in its subtext. There is more to this film for its viewers to ponder after the credits roll. Blatant points are made about racism, immigration issues, suicide and humanity.

The filmmaking is masterful. A bleak, dismal, gloomy future is tangible, insomuch that its sadness seeps into the viewer, a small price to pay for such atmospheric cinema. The film’s photography is predominately blues and grays. This fictitious, crumbled England resembles post-war Italy in its neorealistic films of the 1940s, reminiscent of the works of Rossellini, De Sica and Visconti.

“Children of Men” will be noted for its nearly miraculous, long, unbroken shots that enhance its suspense. (Cinematographer Emmanuel Lubezki was hideously robbed at this year’s Academy Awards by “Pan’s Labyrinth,” another fine film that was surely beautiful but still no match for this “baby.”)

Speaking of one instance, in particular, there is an unusual “car chase” scene, unlike any I can remember, that is easily among the best sequences ever shot in the history of cinema. Easily.

“Children of Men” is, without a doubt, a masterpiece and a definite must-see. Rent it today; you won’t regret it.

X Masterpiece (95-100)
O Excellent (75-94)
O Good video rental (60-74)
O Merely OK (50-59)
O Pure mediocrity (30-49)
O Medusa: don’t watch (1-29)

Copyright 2007.
JP0050 : 597