Rejected by Gather.com, February 2008: I review Children of Men

An oldie but goodie from 2007:

Few movies can end with the hopeful laughter of children and still leave you feeling as empty and unsure of humanity as Children of Men. After viewing this film, I believe that’s exactly the point.

Starring Clive Barker as a seemingly uncaring and distant Theodore, and masterfully directed by Alfonso Cuaron, this movie depicts a near apocalyptic future using a kind of pseudo-reality and pessimism that – unfortunately for us all – hits a bit too close to home.

Sure, Cuaron may mix in a variety of futuristic effects here and there, but for the most part the world of ruin that exists for Theo, his estranged partner Julian (Julianne Moore) and underground resistance group the Fishes (led by the venerable and reliable Chiwetel Ejiofor) might as well be what we will all wake up to tomorrow. In fact, save for the mysterious infertility that has overcome every female on the planet, many of the scenes that play out in the streets of 2027 London have already seen their beginnings take root in our modern cities today.

To remain strong whilst other nations fall prey to looting, war and violence, Britain has taken to rounding up illegal aliens into cages (or worse); Big Brother’s cameras look on from above; fertility tests are a matter of law; and a police state exists not to uphold any semblance of peace, but to keep the cowed citizenry in line. A harrowing scene in the first few moments of the film confirms that the line between who is the real terrorist – the Fishes or the government -- is as hazy as the smoke from Strawberry Cough marijuana.

Our Theo appears unmoved in the face of such hopelessness. As he revels with his best mate Jasper, an elderly chap with a sweet tooth for the aforementioned strawberry reefer (played warmly by a quirky Michael Caine), we see he has little trouble tuning out the monotony of his office job or the looming doom that faces mankind. In the film’s opening scene, we see Theo’s indifference to kismet play out in a coffee shop packed with patrons. As customers stare slack-jawed at a newscast about the tragic death of humanity’s youngest member, Theo shuffles forward to purchase his coffee and leaves. The scene plays out almost comically if not for the explosive period at the end.

But for all the pessimism in Theo’s world, there are undeniable examples of hope and tenderness scattered across his path to safety. Cats and dogs cling to the protagonist during down time, while complete strangers who have grasped the gravity of Theo’s quest sacrifice life and limb to assist him. When Jasper explains Theo’s past with Julian and their dead child, we come to understand why our reluctant protagonist really decided to rescue Kee, the pregnant refugee at the film’s center. It’s no longer about the money -- it’s about hope; about Shanti.

Those moments of clarity are few however, thanks in part to the unforgiving directing and camerawork of Cuaron. The film is gritty and the color, fittingly, has been drained from every scene. In several unforgettable scenes, a handheld camera remains with the characters for far longer than audiences are used to and lets them go only when Cuaron deems the scenes are sufficiently filmed to their violent, bloody conclusions. In one such scene, an unknown victim’s blood splatters on the camera lens and remains there until the brutal one-take shot is done. In effect, the camera is a character. It is the audience sitting atop the fourth wall. At times it hovers mere feet from Theo’s shoulder as he watches the world crumble about him. As Theo’s ears ring from a close call, we hear it as well and shift uncomfortably in our seats.

The filmmaking is breathtaking and risky; unrelenting and fresh. In today’s era of cookie-cutter blockbusters and unabashed Oscar bait, Children of Men is a welcome retreat.