Astronaut Sam Bell has a quintessentially personal encounter toward the end of his three-year stint on the Moon, where he, working alongside his computer, GERTY, sends back to Earth parcels of a resource that has helped diminish our planet's power problems.
In 2074, when the mob wants to get rid of someone, the target is sent into the past, where a hired gun awaits - someone like Joe - who one day learns the mob wants to 'close the loop' by sending back Joe's future self for assassination.
London, 2027. In this dystopian world, humans have been incapable of reproducing for eighteen years for an unknown reason, meaning the imminent extinction of the species. Britain is the one remaining civilized society on the planet, which has resulted in people wanting to immigrate there. As such, it has become a police state in order to handle the immigrants, who are placed into refugee camps. Lowly government bureaucrat Theo Faron, once an activist, is approached by the Fishes, deemed a terrorist group, led by his ex-wife Julian Taylor, who he has not seen in close to twenty years, their marriage which disintegrated following the death of their infant son Dylan during the 2008 flu pandemic. Although the Fishes did use terrorist means in their on-going revolution against the state in the fight for immigrant rights, Julian vows that they now garner support solely by speaking to the people. What she wants is for Theo to use his connections to get transit papers for a young immigrant ...Written by
For the first week of release at Leicester Square, London, there was a mistake on the theater marquee, declaring the title to be "Children of Me". See more »
During the first continuous shot following Theo leaving the coffee shop, the reflection on the coffee shop door shows the faces of a patrol officer and a group of people just outside the door and walking to the right. Yet when the camera exits the shop, the cop does not appear in view as expected from the reflection, rather the cop and group instantly appear further down the street to the right. See more »
Day 1,000 of the Siege of Seattle.
The Muslim community demands an end to the Army's occupation of mosques.
The Homeland Security bill is ratified. After eight years, British borders will remain closed. The deportation of illegal immigrants will continue. Good morning. Our lead story.
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At the very end, one can read "Shanti, Shanti, Shanti" with children shouting and laughing on the soundtrack, which can be heard repeatedly throughout the end credits. This is the last line of T.S. Eliot's 1922 poem "The Wasteland." "Shanti" means "peace" in Sanskrit. See more »
Written by Kevin Martin and Annette Henry
Performed by Pressure featuring Warrior Queen
Published by Chrysalis Music/Copyright Control (c) 2006
Used by permission. All rights reserved
Master courtesy of Hyperdub Records See more »
A frustratingly uneven film, with a perplexing mixture of strengths and weaknesses, reflected in its very divergent ratings here. As an exercise in visualising the near future it is compelling and convincing. It is easy to believe that grotty, disintegrating world it shows is just how it will be, and the few futuristic gadgets around are all the more convincing because of the otherwise mundane and grungy setting. Despite the dismal greyness of this world, the film still has a strange sort of visual beauty, and there is an energy and fluidity in the images that are presented.
However when it comes to small details like, acting, dialogue and narrative, everything falls apart. The script is cringe-makingly bad in places - hard to believe it was written by an native English-speaker. Acting is fairly wooden - although there is some warmth and interest in the central relationship between "Theo" and "Kee". The way the story develops is one-dimensional, with the ending laughably predictable.
Worth seeing for its visual and political imagination, but not a great film by any means.
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