Renaissance [Import] (Blu-ray) R
Paris 2054. Live forever or die trying
Out of Print:
Future availability is unknown
on most orders of $75+
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Brand New
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Blu-ray Details
- Rated: R
- Run Time: 1 hours, 45 minutes
- Video: Black & White
- Encoding: Region 2
- Released: February 3, 2010
- Originally Released: 2006
- Label: Ais
Performers, Cast and Crew:
Starring | Daniel Craig, Catherine McCormack & Patrick Floersheim | |
Performer: | Romola Garai, Ian Holm & Jonathan Pryce | |
Directed by | Christian Volckman | |
Edited by | Pascal Tosi | |
Screenwriting by | Mathieu Delaport & Alexandre de la Patelliere | |
Produced by | Jean-Bernard Marinot, Aton Soumache, Roch Lener & Alexis Vonarb | |
Executive Production by | Ilann Girard |
Entertainment Reviews:
Rating: 2.5/4 --
The visuals of Christian Volckman's film blow away just about everything else on the screen this year.
Full Review
Boston Phoenix
Rating: 3/5 --
The picture is visually stark - at times imagining Fritz Lang had directed The Matrix - and isolated compositions, spiked with high contrast menace, are impressive in their artistic detail. However, the perfunctory plot is B-grade sci-fi.
Empire Magazine Australasia
It is more Sin City (the graphic novel) than Sin City (the movie)! Or at least on a purely visual level . . .
Full Review
Sci-Fi Movie Page
3 stars out of 5 -- [With] slick visuals of an oily, rain-slashed necropolis.
Total Film
[T]he movie's stark visual style is strikingly original....The harsh chiaroscuro accentuates the heavy noir atmosphere...
New York Times
Rating: 2/4 --
It's unfortunate that it's all in the service of a story as dull as it is complicated, though if you can make it to the end without drifting off, there is a small reward.
Detroit Free Press
Ultimately saved by the strong performances, taut atmosphere, and awe inspiring animation...
Full Review
Cinema Crazed
Product Description:
In the near future in a Paris, France, made of Plexiglas, aerodynamic steel beams, and rainslicked surfaces, a sinister plot unfolds: it's one honest cop (voiced by Daniel Craig) against an evil corporatocracy, corrupt scientists, and the mob, as he uses his wits and grit to rescue a brilliant, beautiful female geneticist who has been kidnapped. What he learns on his rescue mission challenges his most hard-boiled preconceptions about who's really running things.
Christian Volckman's first feature film is rendered in astonishing black-and-white "motion capture" animation that continually yields inventive and subtle visual surprises--car chases take on cosmic proportions, cigarette smoke engulfs an entire room like a lovely wraith, and the already beautiful Parisian skyline becomes a dizzying, jeweled spectacle. A descendent of classic science-fiction tech-noir like BLADERUNNER, Volckman's film envisions the near future as a cold and heartless place where corporations are supreme and surface beauty is everything; whole scenes are constructed from reflections in nighttime windows, mirrors, and other shiny expanses, and false (but pretty) facades are created to confuse and imprison characters. This constant emphasis on empty, backwards images supports Volckman's seeming disgust with society's preoccupation with youthful beauty (and the multibillion-dollar cosmetic industries that keep us hooked), although his own film is relentlessly gorgeous.
Christian Volckman's first feature film is rendered in astonishing black-and-white "motion capture" animation that continually yields inventive and subtle visual surprises--car chases take on cosmic proportions, cigarette smoke engulfs an entire room like a lovely wraith, and the already beautiful Parisian skyline becomes a dizzying, jeweled spectacle. A descendent of classic science-fiction tech-noir like BLADERUNNER, Volckman's film envisions the near future as a cold and heartless place where corporations are supreme and surface beauty is everything; whole scenes are constructed from reflections in nighttime windows, mirrors, and other shiny expanses, and false (but pretty) facades are created to confuse and imprison characters. This constant emphasis on empty, backwards images supports Volckman's seeming disgust with society's preoccupation with youthful beauty (and the multibillion-dollar cosmetic industries that keep us hooked), although his own film is relentlessly gorgeous.