Watch the trailer to “Renaissance” and you’ll be thinking, “Wow! Cool! That looks awesome!”
Take the extra step to actually see “Renaissance” and you’ll be thinking, “Wait. Huh? How much of this is left?”
That Miramax opted to give this French animated film a cursory release “ two theaters, folks “ should be your first clue that it’s not going to rock your world.
In the not-too-distant future “ 2054, to be exact “ Paris has become an Orwellian hellhole, and science and business have combined to become Big Brother. Beyond that, I can’t really tell you what it’s all about, because it made so little sense.
Part of the problem, strangely, is the animation. Although going black-and-white with washed-out bright spots leaving little room for detail is a brave stylistic choice, it makes compartmentalizing characters and motivations difficult. As sheer eye candy, however, “Renaissance” is sweet: The whole thing looks like “Sin City” “ the graphic novels, not the movie “ brought to life.
Motion-capture techniques were used to turn actors “ like star Daniel Craig, whose post-“Casino Royale” cache couldn’t even get this seen “ into digital ink. In fact, the half-hour making-of documentary showing how all this was done is more engaging than the movie itself.