2007 BAFTA Best Production Design
Set in a time in the near future when humans have become sterile and therfore face extinction. It is a bleak and depressing story based on PD James excellent novel, but also offers a ray of hope. The scenes set in the immigrant detention centres are scary and frighteningly reminiscent of Nazi concentration camps. I found them difficult to watch. I am not a Clive Owen fan but must grudgingly admit that he does quite a good job as Theo. Michael Caine as his hippy father adds a light hearted touch and Julianne Moore is good as Theo's militant ex-wife.
Think I saw an earlier film years ago that had something of the central idea. Interesting development of some of the characters, but story line can drag at times. Ending leaves much of it in the air as to what future mankind can have. A film to watch because it is different and not always predictable. NOT one for the laughs though! Pessimistic outlook.
Although really looking forward to watching this after seeing the trailer I found myself just a little disappointed. The storyline drags and some of the acting is of Eastenders quality. The cinematography was great and there's no doubt that technically this film is pretty impressive but with an idea that could've been a real blockbuster the makers of this film failed to reach their potential.
Its not all bad though, Clive Owen does a great job and some scenes are really very moving.
Its worth watching if only to explore the concept of an infertile human race - beyond that it leaves a lot to be desired.
Alfonso Cuaron is, undoubtedly, a director with a special touch. His movies have that distinctive note that you can immediately recognize and loudly exclaim his involvement in the work, regardless if the work itself allows such praise or hides it. Children of Men does not hide anything; in fact, this film puts, inarguably, one of the greatest working directors of the 21st century in full display, including all his camera angles, choice of a cinematographer (the equally great Emmanuel Lubezki who later went on to work on ‘The Revenant’), and the infamous long takes which are pieces of art in and of themselves – like short stories waiting to become parts of a whole.
The film follows Theo (in Clive Owen’s best role till date, on par or better with Croupier), as he tries to make sense of the word around him which has undoubtedly gone to shite. In this truly post-apocalyptic world, females have somehow become infertile, and thus the sole survival of the human race has been put at stake. Meanwhile, only Britain had remained the only “viable” state, using an authoritarian rule and going back to politics such as deporting illegal immigrants, introducing constant curfews, and waging a physical and war of propaganda with its citizens. In this very likely scenario, Britain, in the word of the film, “soldiers on”.
It would be rather unfair to give a criticism of this film in 500 words or less, because that would mean to undermine (and overlook) several aspects of the film without even having the guts to talk about current political affairs. And that would be equal parts dishonest, as well as heavily unprofessional. But I digress.
Okay, now let’s talk about the technicalities that make Children of Men such a great film. First on the list: the cinematography, which is breathtakingly eerie, beautiful, and the best in the world credit to Emmanuel Lubezki.
Next on the list: the long takes. There are several in the film, of which the most prominent two + a half are as follows: Car One, Car Two, and Battle One. Car One is the scene where Theo (and group) try to escape the clutches of the resistance (or what’s its name) while going downhill. The most intense long-take scene in the whole history of cinema. Car Two (by reverse chronological order) is the scene where a certain character dies; this scene lasts about eight minutes and director Cuaron admits that he cheated a little whilst putting it together. Nonetheless, this scene is the most thrilling long-take in the history of cinema.
Finally, let’s talk about Battle One. This take of a scene happens in the third and final act of the film, where the stakes are as high as it can get. The final confrontation between the dissidents and the state of Britain happens around Theo, while he struggles to escape with a valuable payload in his hand. Will Theo succeed? Who will prevail, the dissidents, or the oppressive, authoritative state of Britain?
That remains on you, the viewer, to find out.