Children of Men Reviews

Page 2 of 2113
May 1, 2015
I have never followed Clive Owen's works. After seeing his portrayal as Theo in Children of Men, I wanted to salute him right away because he is simply outstanding throughout the whole film. Every actor involved is obviously very good in what they do. They deliver what is required. Not only has Alfonso Cuaron created a story that is so original and creative and is providing food for thought, but he also delivered truly brilliant cinematography. All the long shot segments are just showing off exactly how good he is in terms of controlling the camera and using the camera to tell the story properly. It gives you a sense of intensity and thrill. And it is very effective to tell the whole story layer by layer within two hours time.

With all the despair and chaos in the future world in 2027, we still have a tiny sense of hope seeing Kee having the ability of fertility. The movie is very well crafted.
½ April 22, 2015
Literally, the most depressing film I've ever seen, and I saw Shneider's List!
March 4, 2013
Probably the best sci-fi movie of all time and top ten on my list of movies.
March 22, 2015
For a movie that pretends to show us the dangers of viewing immigrants as somehow beneath us, they sure chose the most stereotypical Romanian (Romani, actually) character to star in it (nothing against Oana Pellea, I'm sure she did the best she could with what she was given). Marichka is by no means a Romanian name, and we don't all wear long skirts and scarves on our head. Shame on the producers to perpetuate such negative and stereotypical thinking.
½ September 5, 2007
A plausible reality makes for an emotionally investing experience.
March 1, 2015
wow, what an overrated film. seriously. anything with Clive Owen....*yawnnnn*
½ March 18, 2015
Regia ambiziosa e alcuni piani sequenza davvero spettacolari. Tensione mantenuta bene. Clive Owen e Julianne Moore non troppo in partita. Doppiaggio italiano lascia a desiderare. Buona la trama anche se in certi momenti regna un po' troppa confusione.
½ March 19, 2015
It's been eighteen years since the birth of the last human child and civilization is barely hanging on by a thread. Clive Owen and Julianne Moore, members of a violent resistance movement, find themselves escorting the holy grail - a miraculously pregnant woman - through the dregs of a dystopian badland. It's a great encapsulation of all the best elements of dark, future-gazing science fiction, hauntingly recognizable despite the distant timeframe. Owen is fantastic in a demanding leading role: part jaded worker-bee, part helpless victim, shattered widower, problem solver and action hero. The film moves incredibly quickly, delighting in its chances to shatter the illusion of tranquility with a jolting change of tone and fortune. One long, jaw-dropping shot in particular has stuck with me for years, even as details of the rest of the plot faded. If you've seen the film even once, you know exactly what I'm talking about. And despite that breakneck tempo, it still somehow manages to work in a wealth of world-building details and delicate character moments. The action scenes are intense and vivid, the moral quandaries deeply disturbing, and its tenor is right on the mark. Epic, powerful sci-fi that teases a post-9/11 distrust of the government without overdoing it.
March 12, 2015
After seeing this movie several times over the years, I can safely say that I'd argue it's one of the greatest films ever made.
½ March 11, 2015
Az egyik legjobb látványvilág és operat?ri munka. Örök darab
½ February 11, 2015
Children of Men truly is one of the best movies I have ever seen. The story is interesting and immersive , the characters feel human, and the content is impeccably executed. The film is also one of the most mature and realistic films I have ever seen. Handheld shots are used extensively throughout and sometimes last up to ten minutes before making a cut. Because of this, the action places you right in the thick of it and doesn't cool down until things have settled. Another reason why the action sequences are liable to leave you sweating and your heart racing is the primary character, Theo Faron, played by Clive Owen. Owen's performance is one of the most realistic and subtle performances I have seen in a long time. Theo Faron is a true every man that just happens to get mixed up in a conflict that will decide the fate of the human race. He doesn't set out to be a hero. He doesn't ask for any responsibility. It is thrust upon him and he makes the very human choice to carry it. Because of this, you quickly come to really care for him. He has no combat training, thus making every action sequence a true sprint for survival. He isn't the only one to turn in a great performance, though. The entire cast does a solid job of immersing you in a world where humanity has gone sterile. All in all, Children of Men is one of the greatest films of all time and one of the most human.
June 23, 2010
This is a masterpiece
½ July 9, 2012
Highly effective thriller featuring intriguing themes and some brilliant long single-shot sequences, "Children of Men" is a compelling exploration of dystopian England.
February 9, 2015
one of my all time fave pics here it grabs ya and won't let go
December 2, 2013
Children of Men is a masterpiece of a film. It grabs you with its fluid camerawork by cinematographer Emmanuel Lubezki and never lets go until the end. Also props to Alfonso Cuaron for making this film with long shots and grabbing you instead of just cutting every time. Overall Children of Men is a perfect dystopian film. Clive Owen is the heart of the film and carries the film very well, and also great supporting actors to complement the film.
February 5, 2015
??? ???? ??? ??? ?????? ?? ???? ????? ????
½ February 5, 2015
Keep Rolling

If one scene in Children of Men, more accurately, one shot, isn't being played over a hundred times, dissected, analyzed, sped up, slowed down, played in reverse, and thoroughly deconstucted in film schools right now, there's something fundamentally wrong with film schools.

This uninterrupted take running over 4 minutes is shot in a car with runaway rebels: the driver and Julianne Moore in the front, and Clive Owen, the pregnant woman and another character cramped in the back. The shot begins with Moore and Owen playing games as they motor merrily along a hillside country road to their designation and, after fleeing from a gang of murderous counter-rebels, ends with two cops being shot to death and left on the road.

I'm not sure many movie audiences consciously appreciate the skill and mastery of a long uninterrupted take. There are no edits. There is no room for error. There is no stopping and starting and shooting from various angles, then filtering out unwanted material and tweaking the content, flow and pace in the editing room. It's one, long uninterrupted take. It is an actual unadulterated document of the action. I suppose this effects a kind of documentary realism, which explains why steadycams have been replaced with shakycams. I notice them all the time. When a film has too many cuts in it, I figure there wasn't much patience and confidence shared on the film set. The editor may be trying to save the film. With cutty films there is less risk and challenge because you can shoot the same scene so many times in so many ways and splice them to splinters. Save it in post. The editor is the filmmaker.

The long shot in Children of Men is a work of sheer genius. A single continuous take from inside a car driving down a country road starts off with Moore and Owen playing a game: blowing and catching a ping-pong ball in each other's mouths. This game sets up and illustrates how risky and challenging the rest of the shot will be, bordering on plain recklessness. The playfulness will be contrasted by the ensuing terror. If the ball bounced off their teeth it would have been easy enough to cut and restart until they got it right, since it was only a minute into the shot. Neat trick but now comes the crazy magic. Cue the flames as a burning truck rolls down the hill to cut them off. The driver slams to a halt and reverses as an army of screaming militants emerge from the woods, throwing rocks, beating sticks, and smashing through Moore's window. Moore throws up her hands to protect herself from flying shards of glass. A Molotov cocktail smashes and flames up on the hood. The shot continues while they drive in reverse. A motorcycle breaks out from the swarm, buzzing towards them, firing a gun shot which breaks through the windshield causing Moores's blood to splatter. We see she's been shot in the throat. Owen covers her to stop the bleeding. As the motorcycle speeds closer, Owen throws open his door to precisely knock one rider off the back of the bike, hurling to the ground. The motorbike crashes against the car and we see the bike and the other rider spin in the air and hit and bounce off the ground. The shot continues as the windshield cracks open and the car turns around to drive forward. Moore's bleeding can't be contained and she dies. They are pursued by the two policemen who pull them over at gun point. The driver steps out and shoots both cops dead. Owen scrambles out of the car (with the cameraman) to scold the killer. They drive off into the distance leaving behind two dead cops (and the cameraman).

WOW! All this in one take. Four fabulous minutes. It's kind of choppy and the timing misfires here and there, but it's still an incredible and incredibly exciting work of filmmaking. I haven't researched how this amazing shot was pulled off because I don't care to deconstruct the beauty and mystery out of it. The POV is always in the car with five people (six, including the cameraman). Not a big car yet the camera manages to move and circle around freely within a confined interior. Even if this was shot with the finest, smallest digital video camera available at the time, it still needed an operator. A really skinny small kid perhaps? This long take stands out in the movie. In its entirety, the movie is worth watching, and for this shot alone deserves a perfect score. I challenge you to watch it only once.

There is another uninterrupted shot of note in the film. Owen and the pregnant woman enter a dingy old room, Owen pays off the provider and proceeds to wash his hands as the woman lays back on a beat up mattress, and then as Owen coaches the woman, he sterilizes his hands and handles the baby when it emerges from the womb, then rests it on the mother's belly, umbilical cord and all. One take, 3 1/2 minutes. This time there would be no second tries. There are no tricks here. The fiction is blurred. Clive Owen is the midwife who delivers the newborn.

(Though a wandering close-up betrays the baby might have been planted off-camera.)
January 27, 2015
Before mentioning camerawork, I think it's important to note how great the cast was, especially with Julianne Moore and Chiwetel getting Oscar buzz recently. Now on to the camerawork. The first scene opened with a shot that started on one side and gave you an idea of scenery and then panned around to show the explosion. Other shots I found interesting were zoom shots that showed the action outside the car and then showed the people inside. There was an example of off-screen space when the girl was in the playground and we could see her through the glass. There were a ton of handheld shots especially during the action scenes. I must say though that even though I thought the camerawork was expertly done, at times it became a bit tedious for the viewer. The camera would often shake and the different 360 views sometimes made me a little dizzy. (Still not nearly as bad as Cloverfield) The film as a whole was amazing though.
October 2, 2014
Genuine, beautiful, intense.
January 23, 2015
one of the most underrated films of all time. love the idea of this movie. also the cinematography is so good in this movie.
Page 2 of 2113