Why oh why do we rely so much on American cinema to pave the way for science-fiction and horror? Sure they have the money in Hollywood, but they’d rather save that for under-whelming, over-expensive blockbusters like Pirates of the Caribbean 25 and Superman Bores Us Again. The most inspiring horror films of the last few years have been 28 Days Later and Shaun of the Dead, both British productions. And now it’s time to take science-fiction away from the US and see what can happen. And before the pedants among you start, yes, I am aware that Children of Men was made by an American production company, but it has a Mexican director, a mostly British cast, it’s set in England and written by a member of the House of Lords.

Children of Men is not the typical anti-septic vision of the future. Rather, it envisages a dystopia, a 2027 ravaged with terrorism, global warming, and nuclear fallout. England is once again ruled with an iron fist, but little is being done to halt the random bombings and general civil unrest. This may or may not have been caused by a devastating blow to humanity’s progression: no child has been born in 18 years.

This background is told by the tale of Theodore (Clive Owen), a despondent ex-anti-establishment day-worker, who gets dragged back into so-called terrorism by Julian (Julianne Moore), an old flame. Their mission, predictably enough, is to rescue the only pregnant woman in the world, and deliver her to what may or may not be the world’s salvation, a mysterious place known as The Human Project, despite the onslaught of the English Government and terrorist organisations.

Director Alfonso Cuaron dives into his direction with relish, and it remains the film’s greatest strength. The film is comprised of a handful of chase scenes, each one suspenseful and elaborately orchestrated. Most of the better scenes (the first car chase, the journey through the war-torn refugee town) are shot as one extended take. Hitchcock said that the mark of a great director is not drawing attention to the direction, and Cuaron manages to achieve this, for the set-pieces do not feel staged. Apparently, one car chase involved the creation of a special “contraption” enabling the camera to freely move inside a packed car being assaulted from the outside.

However, the flourish in direction is also responsible for the film’s failings, which lie mostly in characterisation. Clive Owen does his best to inject appeal into his reluctant hero, and instils much relief in me that he rejected the role of Bond. But we only manage to grab a glimpse of his past before the guns start blazing and the tires start screeching, and it’s time to just sit back and enjoy the devastation. Michael Caine is great in his father-figure role (furthering his comeback into serious cinema alongside his performance in The Prestige), but ends up as pathos in a film that needs no emotional payoff.

Children of Men is due to be released (limited) on December 25th, possibly the worst day of the year to release a movie. Perhaps Hollywood is trying to scupper the success of an English film. I wouldn’t be surprised, considering Children of Men is slightly superficial, but thoroughly thrilling sci-fi action.