Renaissance

Animation always seems to be fringe. In Japan, this might not be the case, but in Europe and much more so in the USA animation has a big fat "KIDS" tag on it. France is probably one of the more comic-liberal countries, home of classics as Tin-Tin, Asterix, Lucky Luke, Valereon and so on(if you've never read these, it's not too late. There's no upper-age limit on them and they don't carry the nerd-stigma of DC or Marvel) It seems natural a movie like this one pops up in France. It suits my prejudiced image of the French as art-loving, anti-USA-oriented and talented movie-makers. Luckily there's also "A scanner darkly" out there to suppress that view - seems art is pretty much international.

Anyway, as you might have gathered Renaissance is artsy and French. If you're a normal person you will get scared by this. There's no need for that however! Beneath it's cool, sleek cel-shaded appearance there's a good thriller and a good movie overall.

That was one of my fears for this movie. It's so easy turning the spectacular animation to a gimmick, much like Sony & C:o are doing with their Pixar rip-offs. I was expecting a confusing, sometimes boring and not very engaging movie, but luckily I was wrong.

I would have enjoyed it anyway for the neo-noir stuff, but it was good that it was worthwhile on that level as well. NOTE: I've seen the French dub which was OK as far as I could see. English might be more interesting what with Craig and everything.

A final word of praise to the animation. It was awesome. Futuristic, well-crafted, nice camera-work, smart solutions(Eyes for example looked very good, which is hard to do) and so visually stunning I felt like bursting out "This is so damn impressive!". Then again, I really like animation and I appreciate the effort the studio put down, so my verdict is a bit biased.

Good movie anyway, definitely lives beyond it's "gimmick".

I've seen this film in avant-premiere at Imagina Festival in Monaco.

I saw the first trailer four years ago, and from this moment, I was waiting to see the final result. I haven't been disappointed.

It is a full 3d movie with a high contrasted black and white render. Clearly inspired by some comic books, such as the ones from F. Miller. In this optic, it goes one step further than the excellent "Sin City" adaptation from R. Rodriguez. This time, (almost) no Grey or any middle color, but a graphic style never seen before in a realistic animated film.(can't wait for scanner darkly)

The massive use of Motion Capture gives a lot of life and credibility to the characters and we forget really soon the technical aspect to concentrate on more classic elements, such as direction or plot. The direction stays sober and controlled despite the infinite possibilities of the medium, and that is a really good surprise.

The futuristic story (Paris 2053) makes it a classic sci-fiction movie and maintain the viewer interested till the end. Despite a classic base plot (an investigation that goes far beyond initial expectations)the atmosphere and some interesting recurring themes (genetics, absolute power of certain firms...)gives this movie a great interest.

Despite it is an animated film, this one is obviously not made for children. You won't find here any funny pet or any stupid family moral, only the cold reality. It is far closer to a good film noir.

I found that the setting is one of the best aspect of the film: we still feel the well known Paris, but it is morphed by a fine touch of futurism.

Nevertheless, I regret a few mistakes. The montage is sometimes a bit flat, one or two very cliché slow motion effects and some poor dialogs. Even though the technical is excellent, it shows its limits in some romantic sequences (a bit like "final fantasy" did). Those little things makes it a 7/10.

Altogether, it is a successful artistic challenge that you have to watch if you can. The director, Christian Volckman, knows how not to fall into potential traps (luckyly, they didn't ask John Woo to do the job!).

To conclude, it is a film with blasting visuals, an intelligent story and a wonderful art direction. Watch it if you can!

Please excuse me for the spelling mistakes.

A Scanner Darkly, Minority Report, Blade Runner, Sin City and Sky Captain and the World of Tomorrow – if you are a fan of any of these then this will be well worth checking out.

French animation project 'Renaissance' took seven years to make on a shoestring budget and tonight I finally got to see it at a private screening for the International Film Festival in Stockholm. My spontaneous reaction is awe; my further reflection is 'huh, neat' and closer analysis regrettably gets a resounding 'meh'. It is a gorgeous science fiction triumph on the surface, but scratch it or even poke it a little and its unnecessarily complex plot becomes glaringly apparent, as do the flat characters.

Nevertheless it is clear that the people at Onyx films have done something spectacular with the aforementioned surface. The visuals are staggering. They have used live action motion capture fitted into key-frame animation, with stark jet black and bright white contrasts and a heavily shadowed rotoscoped background. For those of you who are not down with the 'technical lingo', the film looks like a fully-animated Sin City. Its fluid, transparent, dark and stylized template is complemented by great lurid lightning. It's a vision. Yet much credit is also due to the crisp sound effects that take the form of humming futuristic weapons, suspenseful music, heavy raindrops and glass shards breaking. It's every tech-nerd's wet dream...

The film zooms in on an eerily-lit, bleak, futurescape Paris in which a major corporation called 'Avalon' has begun to interweave in the lives of the citizens with surveillance (think the fluid transparent screens from Minority Report) and genetic engineering. The latter leads to a mysterious kidnapping of young researcher Ilona (voiced by the lovely Romola Garai). Cut to our hard-boiled cop-on-suspension and protagonist Karas (Daniel Craig) – a man who takes the law into his own hands – who is assigned the case of finding and retrieving Ilona. During this case, he is being aided by Illona's sister with whom he also begins a love affair. A very half-assed love affair, if I may say so.

The world of Renaissance is remarkable. Director Christian Volckman takes a fair jab at melting the noir themes and the result is an urban jungle filled with cads, rats, femme fatales and lonely detectives that hide in the shadows of the seedy slum. The problem is that the creators undoubtedly felt the need to have extremely clear and spelled-out archetypes in the story, or the film would have been "too surreal" for mainstream audiences, owing to its lurid animation format. It follows then that we have a multitude of clichéd characters such as evil-laughing villains, sleazy crime bosses and butch tough-chicks who blow smoke every chance they get. It shoves noir in our faces, and it isn't necessary.

What is worse is that the dialogue is a little contrived. It seems as though every line exists for the sole reason of propelling the plot. This is nothing fatal because the plot is so complex once it gets going that it needs some clear direction. Daniel Craig helps here too by bringing a no-nonsense attitude to his hard-edged cop character. At one point in Renaissance, he is seen in a vivid car-chase that surely is one of the most adrenaline-pumping and top notch sequences of the film. Unfortunately, the novelty of the sci-fi visuals have worn off post this car chase and 'Renassaince' could benefit from being slightly shorter. In summary, a very interesting but flawed futuristic comic book experience.

7 out of 10

Renaissance deftly walks the line between mainstream American animation and Japanese anime. There are no annoying animals here to perform lame songs written by has-been musicians and no esoteric detours through alternate dimensions. Instead, Renaissance is a gritty, innovatively drawn thriller with an engaging central story.

The film's greatest asset is its stunning "film noir" animation. The animators have created a distinctive and haunting look through the use of a black & white colour scheme and the constant manipulation of shadow and light. The result is something akin to an animated lino cut or a manga version of Sin City. Equally impressive is the film's ability to move seamlessly from simple two dimensional outlines to scenes involving the most intricate animation imaginable. This is displayed to good effect during an extended car chase in the middle of Renaissance which contains the kind of dazzling animation usually only seen in the works of Otomo, Oshii and Miyazaki.

Regardless of the calibre of the animation, the film would become boring very quickly without an involving storyline. Renaissance also succeeds in this department with an interesting, if unnecessarily convoluted, plot revolving around a corporate kidnapping and demented scientists. The film benefits greatly from a winning central character in Karas, an unorthodox cop voiced in the English version by Daniel Craig. The voice work and dubbing are generally good, with Catherine McCormack particularly impressive as the voice of Bislane.

Renaissance is one of the best animated film aimed at adults not to originate from Japan. The pace is brisk, the tone is evocative and the direction manages to be effortlessly stylish. Highly recommended for the anti-Pixar crowd.

Set in 2054 Paris, Renaissance has Daniel Craig voicing our protagonist, a (surprisingly) renegade cop investigating the kidnapping of a woman, after she disappeared from a club. His plight is further complicated when he uncovers seedy information about Avalon, the city's biggest company, who may have something to do with her disappearance. This relatively uninspiring tale of one man's search to uncover the truth behind a global conglomerate's surge towards everlasting youth and beauty is told through an interesting choice of cinematography and style: a mixture of rotoscope and fluid animation, all done in black and white palette. Whilst this initially looks relatively impressive, the novelty of it wears off fast, and inevitably looks unimpressive. It is certainly not a patch on similarly styled films of the past such as A Scanner Darkly (2006) or Sin City (2005). Fans of video games will get the feeling they are watching one really long cut-scene. The plot, possessing whatever little resonance it has, is done no favours by the completely clunky dialogue, delivered as monotonously as you'd like from the voice talent. It's a shame because there were things I really wanted to like about Renaissance. The only times it feels like really clicking in to second gear are the all too brief action scenes. There's a half-decent shootout within a green house, and a rather cartoonish car chase. But the characters are all far too hackneyed and one-dimensional: the blabbering scientist, the rogue cop, the femme fatale, the cackling bad guy, sprightly vodka drinking Russians, believe me – they all make an appearance. This certainly isn't a patch on Anime Manga, nor does it posses any of the depth that made Ghost In The Shell a three-dimensional experience. An intriguing, if inevitably unsatisfying experience.