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Theo's doubtful about why he has been chosen, just as Joseph must have wondered why it fell upon him to protect poor Mary—and the miracle child in her womb—on the road to Bethlehem. The odds are against him. Can Theo get Kee to the Human Project safely? Does the Human Project even exist?

Michael Caine as the pot-smoking rebel, Jasper

It's tough to trust anyone in this town. What about Jasper (Michael Caine), his old friend, an aging activist who now prefers to lounge around, smoking ganja? Luke (Chewetl Ejiofor), the Fishes' principled leader? Patric (the chameleonic Charlie Hunnam), a dreadlocked warrior with a mean machine gun? What about Syd (Peter Mullan), the tank-driving lawman?

And what happens if Kee goes into labor somewhere along the way?

Theo has very little time to think.

And neither do we. Children of Men is based on a story penned by P.D. James, a professing Christian better known for her mystery novels. Her narrative has been streamlined and revised by no fewer than five screenwriters to become an adrenalin-rush action movie. Once Theo hits the road with Kee, we're off and running, dodging armed pursuers until we reach a war zone that recalls the finale of Stanley Kubrik's Full Metal Jacket.

Fans of the novel may argue about Cuarón's many and varied departures. Some heighten the story's connections to present-day crises; others cloud James' moral vision.

In the book, Julian is the pregnant woman; Kee was invented to connect the film version to the present-day crises in Africa. In the book, euthanasia is depicted as a horrible crime against human dignity, but Cuarón recasts it as an act of heroic mercy. Thus, anyone who exploits the film as a "pro-life" movie isn't watching very closely, although it is encouraging to see that several new films—The Nativity Story, Apocalypto, Children of Men, and the upcoming fantasy, Pan's Labyrinth—tell stories concerned with the protection of an endangered, unborn child.

Clare-Hope Ashitey as the pregnant Kee, the planet's last hope

Some will criticize Cuarón for emphasizing spectacle at the expense of substance, and they'll have a point—the constant sound and fury makes it difficult to think through all of the questions that Children of Men raises. But the sensory experience will be rewarding to many all on its own. Seeing so many familiar images of real-world chaos, the viewer can come to a powerful realization of the need for hope beyond ourselves. It's not so much an intellectual exploration as it is a whirlwind tour of the world's worst nightmares, encapsulating just how desperate and dangerous "civilization" has become. The film may not be an immediate box office sensation, but its powerfully convincing spectacle is likely to make it a lasting sci-fi classic on par with Blade Runner.

A director more interested in spiritual inquiry might have mined this material for richer insights. Cuarón's adaptation suggests that he believes the world can only be saved by human ingenuity. How odd—that a story so full of allusions to the Bible would conclude that God is not participating in the world's salvation, and that we are on our own to fix the world that we have broken. (In my interview with Cuarón, he confirmed this belief that we should place our hope not in God, but in "the next generation.")

In spite of its mixed messages, Children of Men is an enthralling film that will reward post-viewing discussion. Cuarón, who previously directed Harry Potter and the Prisoner of Azkaban, Y Tu Mama Tambien, Great Expectations, and A Little Princess, has concocted a provocative mix of horror, suspense, and ironic wit—including what may be the first big-screen car chase in which none of the cars are actually running. Thanks to the effects team, the cast, and the extraordinarily talented cinematographer Emanuel Lubezki, who also filmed The New World, the film's "key" set pieces are among the most elaborate single-take action scenes ever choreographed. As film blogger Jeffrey Wells declared, "If Stanley Kubrick were alive today, he would absolutely drop to his knees."

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