Children of Men

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A solidly presented post-apocalyptic roam-around in a world that essentially have collapsed already but has yet to decide whether to fall into global apathy or look for some hope to flatter and be flattered by, Children of Men offers you a sanely depicted future hunted by eager hopelessness in which women seem to have lost the ability to give birth to new lives. Writer and director Alfonso Cuarón precisely accounts the various bitter perspectives and aftermath such an epidemic could lead up to, resulting in a quite stable narrative foam absolutely strong enough to soak you into a coherently wicked/rabid 2027 your neighborhood or yourself would surely prefer not be a part of.

The Britain Cuarón renders is confused, tired, irritated and, above all: immensely dangerous. Existent life has lost a lot of it's value as there are no evidences or promises present of a future generation. The social structure fails to maintain it's functionality on a global scale, human masses are invading the coasts of England just to get caught and transported into humongous, prison-like facilities established to house the illegal immigrants Britain absolutely has no resources to support or offer perspectives for. This frantic, peaceless atmosphere is presented smoothly and steadily by Children of Men, thus what you see feels out as something frightfully probable to unravel in case such a crysis would emerge in real life.

Society and it's value directives are massively deranged if not forgotten already, streets and people are dirty, gray, and aggressiveness is a standard behavior pattern to anticipate from humans and to encounter as an unpleasant vibration, dominating and corrupting the air. Thus you see massively armed Police Forces on every single corner and at every single Square, keeping up this shadow of "peace" they are assigned to protect by public cages, heavy duty firearms and the level of incompassionism they - frightfully - HAVE to exhibit toward the confused, hopeless masses to remain and operate as a functioning Force, capable to keep the chaos at bay that would surely ensue otherwise.



Great actor Clive Owen is your focal protagonist, supported by a hilarious sidekick-performance
by Michael Caine, whom you will see now as a dystopian Thinker and primal Weed Molester,
a post-apocalyptic "hippinoid-figure" to keep and represent much needed, ever-legit optimism and a cheerful mood even under such dire conditions. Yet another, stable supportive role of Julianne Moore is of note, as well. Normally we would account her ever-pleasant canvas presence prior to the male characters of course, main reason we do that NOT this time around - has much to do with the shorter role of this great actress.

As for a brief synopsis, Cuarón gives you a supersmooth comic book motivationset to get things moving intensely in this here environment that is quite rampant and very easily irritated to lash out at you. As a leader persona in some underground movement - the first things to pop up when crysises of any kinds are hitting in are underground movements, trust me - Moore's character asks for a favor from Owen's figure, assuring him that the stake at hand is immense. Yes, indeed. Turns out that an immigrant girl could be miraculously impregnated, thus her transportation into a safe area to conduct scientific inspections on her are mandatory.

A rather eventful journey we are to embark on with this small rescue party through the focal negotiation of the buildup, spiced by superbly placed, coherent ideas to deliver you peek moments that are very easy to appreciate even with your jaws on floor. I'll give you a SPOILER warning now, as I will account on a particular element I found very powerful - though, mind you I herein, there are many of such things in Children of Men.

SPOILER starts. An example for such a blatantly strong narrative element is the ambush on the forest road, where the party's car is hindered by a burning wreckage, rolled in their way to block the passage - a big gang then runs out of the woods, eager to rip the party apart and claim all their belongings as loot. This is a highly coherent method to depict the remnants of a civilized society, now possessing no sane directives to operate by save giving out for individual survival instincts via profane, absolute border-efficiency. SPOILER ends.



The buildup eventually arrives to a point to thoroughly elaborate on an armed conflict between government forces and rebels - I am most happy to inform you that Children of Men depicts this excessively hazardous, muddy, metal-smell environment via top level narrative convince power and integrity. Even better, Owen is not a hero, but a victim of the ensuing conflict, he has no intentions to claim significant role in the actual shootout, all he wants to do is secure the young mother and her child to keep them in the much-needed, though no doubt, fragile safety he is determined to render for them under the whistling projectiles. A very "nice" peek period, giving you even more precise of a thorough impression - oxymoron there? - about a state of war than the recent Rambo installment could, in my opinion. Trust me, a war narratively depicted feels more believable and way more horrific when determination is easily sedated down permanently with a casual bullet, opposed to presenting a focal protagonist who never misses and never gets hit and you know he never will.

Children of Men is a massively significant recent addition to the post-apocalyptic genre, operating it's smooth narrative buildup in a well-researched, rigorously believable future that is harassed by immense crysis and has very shallow of prospects to aspire for or reach out to. Alfonso Cuarón made a motion picture to manifest it's functionalities as blatant warning signs, even better: these warning signs are not pushed into your face, it is you who will invent and collect them to set one up at most every minute of this great, memorable flick. Post-apocalypse is never grim, post-apocalypse is romance excellence - just let us make sure to admire it via the meritoriousness of tales and narratives from now on.



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