In an interesting twist on the apocalypse drama genre, “Children of Men” presents a world that is coming to an end with a whimper as opposed to a bang. For there is no cataclysmic explosion forcing humanity to confront it’s own mortality. No, in this case, people have simply lost the ability to reproduce–and the youngest person alive is now approaching adulthood. Of course, over the ensuing years (the film is set in 2027) of this ongoing tragedy, there has been an expected societal breakdown. Now, the streets of London are ravaged by terrorism and extremist groups are battling to overturn the complacent, and possibly complicit, government. While this may seem like a broad and epic canvas, “Children of Men” covers many weighty issues within the relatively straightforward story of its protagonist, Clive Owen. Owen, an ex-activist who is now somewhat disconnected, is drawn back into a world that he wants no part of. The unlikeliest and most reluctant of heroes, Owen confronts his own ideology and apathy when an extremist group introduces him to a pregnant teen. Fearing that she will be exploited, used, or otherwise politically manipulated by the warring factions–he decides to deliver her to a utopian (and perhaps mythical) society whose only interest is in saving humanity. Getting her free from the controlling clutches that bind her and crossing a country plagued by insurrection, “Children of Men” becomes a harrowing and brutal action picture with violence that resembles much of what we see on TV news today.

Owen has long been a favorite of mine. Having taken notice of him in “Croupier” (and if you haven’t caught this great noir piece, please do), I have been quite impressed by his rise in mainstream films. He was so electrifying in “Closer” that I even forgave him for “Derailed.” Here, he is the perfect antihero–and his evolution from a disinterested party to a rogue patriot is an indelible portrait of a man rediscovering a purpose and meaning in life. Julianne Moore, Michael Caine, and Clare-Hope Ashitey (as the pregnant team) lead an able supporting cast. The documentary feel of the film’s action pieces suit the material well, and the conflicts are well staged and all too believable.

Now, there are many political debates to be started from “Children of Men” (none of which will I engage in here), but what I admired about the film’s screenplay is how focused it is. Without being preachy or engaging in unnecessary “speechifying,” this film plays as straight action. And while there is a “revelatory” moment near the end that almost goes too far (but is understandable within the context of the film), “Children of Men” allows you to draw your own conclusions. It just presents the story and leaves much of its interpretation up to the viewer. That, to me, is always a satisfying choice. Whether you view this film as action, sci-fi, political allegory, or a combination of all three–it’s a worthwhile and entertaining film.”