Children of Men

Die technische Brillanz und die orgastische Kreativität dieses Films öffnen mit ihrer visuellen Seite den Mund der Film-Feinschmecker. Die Handlung mit dem starken Thema und den noch stärkeren Szenen erwärmt das Herz eines Kindes, eines Erwachsenen sowie einer Oma. Und obwohl sich Alfonso Cuarón und der Kameramann Emmanuel Lubezki manchmal vorführen und sagen "Schaut her, was wir schaffen!", lässt ihr Werk absolut niemanden kalt. In dem rammelvollen Kino war es ein ausgezeichnetes kollektives Erlebnis. Die Leute haben gelacht und geseufzt, als ob ihnen jemand das Maul mit einer Autobatterie kaputtgemacht hätte. In den 70er Jahren haben das sterbende Hollywood Steven Spielberg, George Lucas, Francis Coppola und Co. gerettet. Jetzt, in der Zeit von kalkulierten digitalen Joghurts, wird es von Cuarón, Alejandro Iñárritu, Paul Greengrass und Co. auf ein anderes Level gebracht. *** DER FILM DES JAHRES *** (14.11.2006)

This is no milestone in the history of cinema, for that Cuarón would have to be as good a screenwriter as he is a director, but it’s definitely a film that can only be recommended. At least 2 scenes – the carjacking and the wartime turmoil in the refugee zone – are worthy of inclusion in the proverbial "hall of fame" of memorable scenes; the only thing I missed while watching them was an involuntary "Holy shit!". Another thing worth praise is the interestingly portrayed atmosphere of the near future: bleak and troubled, free from exaggerated technological trappings, but with an emphasis on one of the expected future problems of Western civilization, which is already beginning to rear its ugly head (see this year's events in France), namely the problem of illegal immigrants and the related rise of xenophobia. Clive Owen is a very charismatic guy and a good actor, I'm rooting for his current status as a major leading man, just a shame that in his case it didn't come sooner. (28.12.2006)

A riveting film with a pretty realistic portrayal of our near future. The world in 2027: misery, filth, people living in unsustainable social conditions; not that different from our present. If you multiply today’s problems in Europe, you will get something unpleasantly similar to Children of Men. This socio-political insight gives the film an uncompromising undertone, while the main storyline provides a sufficiently solid base for the viewer to consider it real and factually important. The camera for the most part is a couple of paces behind the protagonist and in several scenes it pulls you directly into the events taking place on screen, making you go through a brutal shoot-out, a bus full of hiding wretches and a semi-demolished building. Everything feels incredibly alive but depressive at the same time, and the glimmer of hope in the form of a baby by the end works the way it should. (21.01.2008)

Das bravouröse Gleichnis über den Untergang der Menschheit wird durch die technischen Mittel des Erzählens gekrönt. Die Musik ist eine sehr interessante Mischung aus apokalyptischen Refrains, unangenehmen Geräuschen und Blödsinn, der genau in die fiktive Welt passt (aus dem Radio und der futuristischen Hifi-Anlage). Ich muss zugeben, dass ich "Ruby Tuesday" nie vergessen werde, nachdem ich Children of Men gesehen habe... Ein ähnlich effektives Mittel ist der Schnitt, der an manchen Stellen völlig fehlt und den Film in unglaublich langen und rohen Stücken fließen lässt. Er lässt die ausdrucksstarke Handkameraarbeit von Emmanuel Lubezki (der auch Burtons Sleepy Hollow drehte) durchscheinen. Sie verleiht sowohl den Dialogszenen als auch den Actionsequenzen, die fast ungesund unmittelbar und beeindruckend sind, einen Hauch von Authentizität. Ein großes Lob gebührt der Besetzung, angeführt von dem exzellenten Clive Owen... es besteht kein Zweifel, dass dieses schroffe, männliche Gesicht mit einem feinen inneren Schauspiel und einer natürlichen Zerbrechlichkeit ausgestattet ist, die zivilen Posen förderlich ist. Michael Caine als Jasper beweist einmal mehr das wachsende Charisma des Alters... Das unbekannte Gesicht von Clare Hope-Ashitey glänzt und kann es glatt mit einem Star wie Julianne Moore aufnehmen. Der Hauptdarsteller ist jedoch Alfonso Cuarón, der nach seiner potteresken Anabasis endlich eine Arbeit abliefert, die ihn zu den Regiestars ersten Ranges zählt. Die Art und Weise, wie er mit großen Einstellungseinheiten arbeitet, wie er mit menschlichen Gesichtern arbeitet, wie er die Intensität des Films abstuft, wie er mit minimalen Mitteln die Atmosphäre der zukünftigen Welt heraufbeschwört und wie er mit minimalen Mitteln den verfallenden Zustand unserer Welt in der zukünftigen Welt spiegelt, verdient Bewunderung und Anerkennung. Children of Men ist weder ein falscher Moralapostel noch ein aufgepeitschter Katastrophenfilm, der sich auf Schemata und aussagekräftige Symbole verlässt. Im Grunde ist es ein intimer Film, der sehr authentisch und ehrlich ist. Anhand eines kleinen Teils der Menschheit wird eine Schreckensvision vom Ende der Menschheit präsentiert, die in ihrer Auflösung fast schon symbolisch hyperbolisch ist... es besteht kein Zweifel, dass diese "Science Fiction" nichts anderes ist als eine erschreckende Übertreibung der Gegenwart. Für mich ist es definitiv bisher das Zuschauererlebnis des Jahres. (12.11.2006)

If Children of Men didn’t have such a simple plot, there wouldn’t be anything to reproach it for. The plot wouldn’t even be a problem, but the end result is merely a patchwork of a bunch of incredibly intense scenes that don't seem particularly consistent as a whole. Even without the long takes, Children of Men would be worth seeing. However, the scenes are there, and they constitute the proverbial icing on the cake, which elevates Children to a clear "must see" affair that we haven’t been treated to in our movie theaters for a long time. And probably won't for a long time to come. (10.11.2006)

Absolute victory of form over content and story. Even though, in its almost metaphorical conception of human incapacity to reproduce, it can drive a few bugs into the viewer's mind. It's a pity that it doesn't develop the central idea too much, it doesn't provide a cohesive resolution and rather serves as a screen for the camera and editing. But oh, for what purpose! The expression "raw" has never applied to any other film as much as it does to The Descendants. The attack on the car and especially Thea's journey through the battle tumult resonate in me longer than after the closing credits start rolling, and I am afraid that some unnecessary and mainly pre-condemned plagiarists will try to shoot a scene that will be better or longer and fatally fail. Definitely not the film of the year, but perfect for contemplation and amazement from a visual standpoint. (22.12.2006)

Of all the film premieres of 2006, Children of Men left the biggest impression on me, and because I didn't hesitate to go to the movie theater to watch it, I was rewarded with an experience on the big screen. It is a film that is brilliantly directed, a masterpiece by Alfonso Cuarón, where you can feel the touch of an extraordinarily talented filmmaker in every shot. However, I have one problem with Children of Men: Yes, is brilliantly filmed, but I am concerned with what it is about. The literary source by P. D. James is just an average story from the science fiction genre, and in my library, there are hundreds of novels and stories that deserve such precise adaptation far more than this. The basic motif, namely the fact that children have stopped being born, is essentially nonsensical and can only be seen as a metaphor. But I have a slight issue with the divine punishment in the sci-fi movie. Furthermore, the world of the author is not very functional. Why should the planet fall into chaos and only Great Britain survive as an island of stability? In moments of crisis, old proven dictatorships usually take over, regardless of their nature, and in a world where older people prevail, the desire for stability prevails as well. Nevertheless, my overall impression is a reliable 90%. It combines three basic prerequisites for the creation of a good film - an original story, a strong theme, and unique execution. Practically every scene is captured with remarkable invention and persuasiveness. The strongest impression a viewer takes away is from the depiction of battle scenes in a ravaged refugee camp. Cuarón has an extraordinary ability to tell a dramatic story and doesn't need frantic and shaky camera shots like notorious B-movie directors. At the same time, it's not overly sentimental or just cheap entertainment. It is a directorially alarming and exceptionally emotional film. It is already part of the golden fund of science fiction works today. (24.01.2008)

Movie of the year, without a doubt. Cuarón’s vision of the future is dreadful and plausible. People are depicted exactly as they are in reality. Some cowardly, sometimes brave, sometimes evil, sometimes good and so on, it’s a truly mixed bunch. He shows us the future of 2027 when we have lost hope and belief in good things. But this is a simply story, without dreadful twists and shocking revelations. This is a study of Us, people. But what stands out over everything else in Children of Men is its brilliant form. The ingeniously planned choreography, the long, really long takes with not cuts whatsoever take your breath away. The scene in the car and one of the final uprisings are incredibly well executed. I couldn’t believe that it’s even possible to film anything like that. Supported by an excellent performance from Clive Owen, whose Theo is no dumb hero, but a real person afraid for his life, we see the final disintegration of our civilization. This is just what world of film needs. Movies like this. Stories like this. (18.03.2007)

In Children of Men I didn’t find a single groundbreaking, new, or significant thing that should be recorded for eternity in the history of cinema. Alfonso Cuarón is a fine director and presents us with a truly distinctive view of the future in a fast-paced film, full of clever moments and details. The story is presented in a very peculiar and unusual form, far from the grandiose meddling with futuristic gimmicks like Minority Report, but there’s nothing to lean on in terms of plot. The film's idea is clear and powerful, but the script does not allow it to fully develop. Emotionally, the film is relatively cold and, above all, extremely simple in terms of plot. Essentially, everything is clear from the beginning. There are occasional interesting ideas, but they don't change anything in essence. The car chase and the final battle for the city are thrilling, but we have seen similar things in Saving Private Ryan or Black Hawk Down. The fact they occur in a wannabe existential sci-fi does not make it a revolutionary matter. (14.05.2007)

Es gibt nur wenige Filme, die ich im Kino gesehen habe und die ich als "technisch brillant und in allen Hinsichten ausgefeilt" bezeichnen kann. Über Children of Men kann man so etwas schreiben. Die Kamera ist genial, die Regie weiß, was sie mit den megalangen Aufnahmen machen soll, die Schauspielleistungen sind ausgezeichnet… Und das war’s. Michael Caine in Kombination mit "Ruby Tuesday" werde ich wahrscheinlich nie vergessen. (24.08.2009)

Alfonso Cuarón is slowly becoming a visual god who can tease the viewer's sensory cells with an intensity perhaps matched only by Steven Spielberg or James Cameron. Children of Men may have a rather tedious and chatty first half, but it boasts an absolutely bombastic and so emotionally impactful ending that I was in a trance watching it and kept thinking "don’t let it end yet". The bleak vision of the near future, supported by a great central idea and stylish visuals, is absolutely perfect, with every elaborate shot contributing greatly to building the atmosphere, and Owen's every gesture deepening it. For me an incredible film and one of the most important titles of 2006. (01.12.2012)

In the new millennium, it is evident that there are creators who are capable of making quality sci-fi. In the case of Alfonso Cuarón's film, this holds true in several aspects - excellent work with the actors, well-executed camera work, a story that is not boring, an interesting screenplay, but also ideas that are presented here. All of this makes sense and creates a functional, suspenseful whole. (20.03.2015)

I'm not saying Cuarón's concept was bad, but somehow the whole thing just didn't sit right with me... It's like I'm fighting off hunger with too large a helping of something very rich and tasty, but despite all the "quality" I was still hungry at the end (maybe even more than I was to start with)... I was disappointed; I expected much, much more. (06.09.2009)