Based on British mystery writer P.D. James’ rather downbeat novel Men takes place in the not-too-distant future where the world is definitely not right. In fact society is facing extinction since the human race has lost the ability to reproduce; there hasn’t been a new child born in 18 years. But as the tagline reads “…all that can change in a heartbeat.” While the rest of England is unraveling as civil unrest runs rampant a young woman named Kee (Clare-Hope Ashitey) is found miraculously pregnant and Theo (Clive Owen) a disillusioned government agent agrees to help secretly transport her to a sanctuary at sea where her child's birth may help scientists save the future of mankind. So sets in motion a race against time fraught with many horrific obstacles. Children of Men collects a first-rate cast. Leading the pack is Owen as yet another reluctant antihero. It’s a good part for the somewhat depressive actor who seems at ease when everything is going to hell around him (see Inside Man Closer etc.). Theo is initially drawn into the Kee conflict because his ex-wife a terrorist/activist--played with brief but quiet determination by Julianne Moore—asks him to. See they share their own personal tragedy so saving Kee and the baby becomes even more important to them. Newcomer Ashitey shines as Kee who really doesn’t understand at all what is happening to her but has a fair amount of spunk anyway. Other standouts include Chiwetel Ejiofor (Kinky Boots) as one of Moore’s compadres with his own nefarious agenda and Michael Caine as an old friend of Theo--a throwback to a more peaceful time. Representing both old and new school Ejiofor and Caine are actors you can simply put in any film and somehow they will make them that much better. But Children of Men’s true brilliance comes from its creator. Co-writer/director Alfonso Cuaron is simply one of the most exciting cinematic storytellers working today. No genre is out of his reach. He has done kiddie flicks (A Little Princess) sexy coming-of-age dramas (Y Tu Mama Tambien)—and even a splashy Harry Potter installment (Prisoner of Azkaban probably the best one so far). And now Men a futuristic thriller that he crafts with absolute bone-chilling effect. Cuaron’s world is not a very happy place with the skies consistently gray with pollution and violence injustice and human cruelty around every corner. When Theo and Kee are on the run you’re expecting the worst at any moment but that’s not really where Cuaron’s head is at. He wants us to have hope. As the director puts it in the film’s production notes “Humanity has an amazing talent for destruction. But also we can show solidarity and an ability to come through problems together. In the end Children of Men isn’t so much about humanity being destructive—its more about ideologies coming between people’s judgment and their actions that is at work in this story.” I couldn’t have said it any better.
A dead body with a smashed-in face and cut-off hands is uncovered at a Montreal construction site. The local authorities are all over it but police inspector Hugo Leclair (Tcheky Karyo) thinks it might be bigger than just a random murder and decides to bring in his good friend Special Agent Illeana Scott (Angelina Jolie) an FBI profiler who relies on her intuition rather than conventional crime-solving techniques. She proves it by immediately lying in the victim's grave to get a "sense" of what happened to him. (Wow we've never seen that before.) The Montreal detectives on the case Paquette (Olivier Martinez) and Duval (Jean-Hugues Anglade) are skeptical of her ways especially Paquette who thinks she's just plain nuts (we're with ya Paquette) and resents her involvement. The investigative team catches a lucky break when witness James Costa (Ethan Hawke) pops up claiming he stumbled upon the killer mid-murder (but not in time to save the victim) and can identify him. With Costa's help Illeana gets a clearer picture of her "profile " discovering he is a chameleon-like serial killer who "life-jacks" his victims assuming their lives and identities. At first she's hot on his tracks but the usually detached Illeana is thrown for a loop when an unexpected attraction develops between her and James. She suddenly feels like she is losing her touch; and surrounded by what could be a bevy of potential suspects things get chillingly personal.
Jolie has done this before sort of in the 1999 The Bone Collector in which she played a homicide detective who works with a quadriplegic partner to catch a serial killer so inhabiting Agent Scott is not new territory for her. Neither is acting in the steamy love scene she gets to share with Hawke which as we all know is something Jolie can do well. What is surprising for a movie of this type however is the fact the uptight emotionless FBI profiler actually gets to have sex which brings out Scott's more human qualities. The ultra-smooth Hawke whom we haven't seen since his Oscar-nominated turn in the 2001 Training Day also does some intriguing things with his character who may or may not be the bad guy (see below). The rest of the cast however falls into conventional psycho thriller compartments--the good cop (Anglade) the bad cop (Martinez) the concerned confidante (Karyo) and the person who provides key information about the serial killer's background (his mother played by Gena Rowlands)--without shedding anything new on the proceedings.
If you've seen one big-budget psychological serial killer movie you've seen them all. You know that the one guy they want you to think is the killer really isn't. You know that the other more unlikely guy probably is. You know somehow the hero--a smart cop FBI agent etc.--will eventually find his or her life in mortal danger. And finally you know the killer rarely dies on the first attempt; he always comes back. What you hope is that at some point the filmmaker will throw a wrench in the works. Something you couldn't predict even if given all the clues. Taking Lives director D.J. Caruso tries his best to do this. Through his camerawork he sets up Illeana's hyper-sensitive skills of observation as she notices everything around her only to see those skills fail on her later--and aided by composer Phillip Glass' haunting musical score the film reaches the predictable high points fulfilling its thriller quota. Montreal also provides a change of pace from the usual grimy Big Apple or other such gritty American locales prominently feature in such films. But what keeps Taking Lives in the running is its curveball at the end. If you don't mind wading through the rest of the movie's obviousness the wait is worth it.