A couple of years ago, I was pleasantly surprised that Harry Potter & the Prisoner of Azkaban was my favorite film of that year. Surprised, because the previous two Harry Potter adaptations had a sort of dryness about them that made it difficult for me to love the films (despite my wanting to). The third film was the first of the series that really stood on its own feet, and even provided a near-perfect cinematic vision of a fantasyland. I assume that much of that credit must go to its director, Alfonso Cuaron. Since its release, I've seen the film numerous times. It gets better with every viewing, and has become one of my all-time favorite films. I even watched it again in preparation to see Cuaron & company's latest effort, Children of Men.
More than anything else, Children of Men shows the audience how much power the film medium can wield, and Cuaron doesn't take his responsibilities lightly. Under the surface of this fantastically realized action-thriller is a strong, earnest heart carrying a very simple message, one that in less capable hands would result in a project that would easily garner ridicule. In fact, when I first heard about the film's dystopian future concepts, I was wondering how such a well-worn idea could turn out a good film, even in the hands of one of my favorite filmmakers. Well, it turns out that Alfonso Cuaron and his crew have created a prime example of how you redefine expectations. Not only is it good, it's a masterpiece.
Many comparisons will be made to films like A Clockwork Orange and Blade Runner because of the aesthetic of its vision, but what separates this film from those others is that it feels nurtured by a much gentler, wiser hand, becoming one of those rare films that's crafted with razor-sharp precision but manages to remain warm and soulful without ever losing its balance. I think a more fair comparison would be to put it in the ranks of films like The Incredibles or 28 Days Later for its relentlessly humanistic approach to genre storytelling, but with such refined execution that I can comfortably compare it to classic films like L'Atalante, Ikiru, and The Bicycle Thief. For fellow film snobs out there, you know that's high praise!
Being a comic artist, I spend so much time crafting stories every day that when I see it done at this level I can't help but feel giddy and excited. Along with The Queen (which I saw the night before), Children of Men has recharged those storytelling batteries in my tired head. It now stands shoulder-to-shoulder with some of my classic perennial favorites and is my current pick for the best film of 2006. I highly recommend the film to any lovers of cinema, and it packs an emotional wallop that is entirely universal, so be sure to bring friends. You'll want to talk about the film afterwards.
Now I eagerly await the wide release of Pan's Labyrinth, the film I've been looking forward to most...
