Az ember gyermeke

A film technikai zsenialitása és látványvilágának orgasztikus kreativitása miatt a filmrajongók szája tátva marad, a sztori erős témája és még erősebb jelenetei miatt elolvad a gyermek, a felnőtt és a nagymama szíve is. És bár Alfonso Cuarón és Emmanuel Lubezki operatőr időnként szinte azt mutogatnak, hogy "Nézd, mit tudunk!", a munkájuk senkit sem hagy hidegen. Egy zsúfolt moziban kiváló kollektív élmény, amikor az emberek a fejüket fogták, nevettek és nyögtek, mintha őket is arcon vágták volna egy autó akkumulátorával. Szerintem ahogy Steven Spielberg, George Lucas, Francis Coppola és társai talpra állították a hetvenes években a haldokló Hollywoodot, úgy Cuarón, Alejandro Iñárritu, Paul Greengrass és társai most, a számító digitális művek korában egy másik szintre emelik. *** AZ ÉV FILMJE *** (2006.11.14)

The brilliant parable of the demise of humanity culminates in the technical means of storytelling. The music is a very interesting mix of apocalyptic chorus, unpleasant noises and hits, which can be heard directly in the fictional world (from the radio and the futuristic hi-fi system). I have to admit that after watching Children of Men... I will never forget Ruby Tuesday. A similarly effective resource is the editing, which in some places is completely absent and allows the film to flow in incredibly long and raw units. This highlights the expressive work of Emmanuel Lubezki's handheld camera (he also shot Burton's Sleepy Hollow). With its shaky eye, the camera adds a touch of authenticity to both dialogue scenes and action sequences, which are unhealthily imminent and impressive. The actor group led by the excellent Clive Owen deserves great recognition... there is no doubt that his rough masculine face is endowed with gentle inner acting and natural fragility, favoring civilian positions. Michael Caine in the role of Jasper once again demonstrates what the strengthening charisma of old age is... Claire Hope-Ashitey's unknown face shines and can easily match a star like Julianne Moore. The main star, however, is Alfonso Cuarón, who, after his difficult involvement in the Harry Potter films, finally submits work that ranks him amongst the top magnitude of director stars. The way he works with large sets of shots, with human faces, the way in which the film intensity escalates, the way he evokes the atmosphere of the future world with minimal resources and the way he reflects the decaying state of our world in the future world with minimal resources is admirable and worth acknowledging. Children of Men is not a matter of vain moralizing, nor a disaster film based on a scheme and all-telling symbols. It is essentially an intimate film, one that is harshly authentic and honest. On a small sample of humanity, he presents a horrible vision of the end of humanity, which is symbolically raised in its resolution... there is no doubt that this "science fiction" is nothing but the freezing hyperbole of today. For me, the current spectator experience of the year. (2006.11.12)

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. (2006.11.10)

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. (2006.12.28)

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. (2008.01.21)