| Cast overview, first billed only: | |||
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Juan Gabriel Yacuzzi | ... | Baby Diego (as Juan Yacuzzi) |
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Mishal Husain | ... | Newsreader |
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Rob Curling | ... | Newsreader |
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Jon Chevalier | ... | Café Customer |
| Rita Davies | ... | Café Customer | |
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Kim Fenton | ... | Café Customer |
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Chris Gilbert | ... | Café Customer |
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Phoebe Hawthorne | ... | Café Customer |
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Rebecca Howard | ... | Café Customer |
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Atalanta White | ... | Café Customer (as Atlanta White) |
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Laurence Woodbridge | ... | Café Customer |
| Clive Owen | ... | Theo Faron | |
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Maria McErlane | ... | Shirley |
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Michael Haughey | ... | Mr. Griffiths |
| Phaldut Sharma | ... | Ian (as Paul Sharma) | |
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 Huggo
I've had a particularly bad film year, especially after having seen one particular over-hyped vacuous mess earlier in the year which all but killed my desire to see any films, no matter how interesting they looked or what the critics said about them. So, it was with a little trepidation that I went to see this, especially given that it starred Clive Owen (IMHO, the George Lazenby of British acting).
Well, I loved it and I'm not ashamed. It's unremittingly bleak and violent, but so beautifully filmed and realised that, at one point, I damn nearly burst into tears that someone could have created something so fresh and so moving, so provocative, so disturbing and so grimly beautiful. I thought it brought a real sense of imagination to the screen and that it was possessed of a fantastic visual flair. I felt that it ended on a note of hope, however uncertain and unclear, and certainly a note of redemption for the hero. I'll admit that Owen, while he still hasn't convinced me that he's a great actor, pulls off this role with a hangdog...um, doggedness that I found believable and often even moving.
I left the cinema strangely elated, relieved that cinema still has the power to move.