reVIEW (47)
RENAISSANCE

Paris, 2054.
Young and extremely brilliant researcher Ilona Tasuiev is abducted, and her employer, the Avalon Corporation (“Your friend. For life.”) is desperate to recover her. Enter Lt. Barthélémy Karas, a cop only too willing to bend—or break—the rules to get the job done, and you have the basic set-up for Christian Volckman’s neo-noir animated film, Renaissance.
Executed via motion capture, in the stark contrast of chiaroscuro, this is one of those gorgeously-realized sci-fi futurescapes that pulls you into its environs with startling ease. The downside of that, of course, is that the narrative has to work doubly hard to be worthy of the production’s awesome visual palette.
To be fair, there is a story here, complete with cautionary underpinnings; I’ve long believed the best sci-fi stories are the cautionary ones.
Where Renaissance fumbles a tad though is the pacing of its narrative, which is slightly uneven, making its 105-minute running time feel vaguely longish. Still, if you’re patient with your cinema, Renaissance has a nice—if not sunshiny-happy—pay-off.
Renaissance is also guilty of servicing some of the genre tropes a little too slavishly; Karas getting involved with Ilona’s sister Bislane is both painfully predictable and achieved with an off-handed and almost insulting convenience. (Though the neat reversals pulled off by that aforementioned pay-off may arguably be more than enough to balance out the script’s more clichéd moments.)

And there is the matter of Renaissance’s voice cast.
Almost always, when it comes to a foreign animated film, I will insist on watching the English-subtitled version. (With a foreign live-action film, always.)
The English dubbing on Renaissance though, is exceptional, not at all displaying the overly theatrical—and in some cases, childish—flourishes you usually find in dubbed animation.
And there are notable names here, mind: Daniel Craig, Ian Holm, Jonathan Pryce, Catherine McCormack. The talent at the other end of the mic is top-notch, certainly worthy of Renaissance’s eye-widening visuals.

Ultimately, Renaissance may be slightly flawed, but it’s nonetheless an exceptional piece of animated sci-fi that furthered the cause of stylized storytelling in modern cinema, a wave that began with Kerry Conran’s Sky Captain and the World of Tomorrow and barreled on with the mainstream success of such entries as Sin City and 300.* (Closer to Renaissance’s animated home of course, are Richard Linklater’s Waking Life and A Scanner Darkly.)
Renaissance also won the Feature Film Award at Annecy 2006 and the European Fantasy Film Grand Prize at Fantasporto 2007, so that should count for something, yes?

* Fans of the digitally-created artificial environs of this brand of storytelling are advised to check out the Wachowskis’ Speed Racer (review in Archive), and can also look forward to Frank Miller’s upcoming take on Will Eisner’s The Spirit, opening on Christmas Day 2008.

(Renaissance OS courtesy of impawards.com.)

SPEED RACER
(Review)

For the purposes of placing this review in a larger context…

My Cinematic History with the Wachowskis:
When Bound was released, I found it to be an agreeable, if not necessarily mind-blowing piece of entertainment. Beyond the lesbian twist, it didn’t really leave me with anything particularly fresh and rave-worthy.
So when news first surfaced of their next project, some sci-fi vehicle with Keanu in it, I was curious in that I wanted to see whether the brothers could handle science fiction, given that Bound wasn’t anywhere near that sort of territory.
It was in that neutral air of close-to-zero expectation that The Matrix blasted against my retinas and imprinted itself on my completely flabbergasted cortex.
It wasn’t perfect, but this was clearly something vital and new, blowing wide the gates of the film medium, even as the third millennium rapidly approached.
Fittingly enough, The Matrix proved to be a harbinger for post-millennial cinema, single-handedly establishing the new action film paradigm (ironically enough, by co-opting and sprucing up wire fu, which had already been going on for decades while the mainstream pointedly looked elsewhere).
As impressed as I was with The Matrix though, the Wachowskis were still on my probation list. I wanted them to kick my a$$ with a film that was removed from The Matrix, something low-key maybe.
Of course, they opted to return with the Matrix sequels, films I felt weren’t particularly needed. The Matrix was one of those very singular films that should have been left standing alone.
And when 2003 came around and Reloaded and Revolutions hit the screens within six months of each other, the whole bullet train completely derailed. (I am extremely grateful we had The Animatrix that same year, which thankfully more than negated the very bad taste the sequels left in me…)
Not only did the sequels suffer under the terrible weight of expectation, but the Wachowskis seemed to have approached the entire enterprise from the wrong angle. Sick to death of The Matrix’s bullet-time having been appropriated and parodied by all and sundry, they conceived of effects sequences so complex, no one could copy them.
That just seemed arrogant and presumptious. And the philobabble just got a bit much…
So I was back to waiting. Waiting for the Wachowskis to kick my a$$ all over again.

And they’ve done it.

With Speed Racer.

The titular hero (played with an earnest sense of idealistic confidence by Emile Hirsch) is a young man who lives for the rush, who can’t really slow down. There, behind the wheel, careening down the race track at improbable velocities, is one of the few places Speed feels at home.
He knows, deep in his heart, in the very fibre of his being, that this is not just the only thing he knows how to do, but also, the principal thing he was meant to do.
And though he has an amazing support system in his extended family (which includes his girlfriend Trixie, played by Christina Ricci), Speed also has some ghosts he must come to terms with, in particular, the disgrace and apparent subsequent death of his older brother Rex (Friday Night Lights’ Scott Porter).
Rex is the brother he idolized, the brother who taught him everything, who taught him to listen, to understand and acknowledge that a car isn’t just metal and oil, but rather, a living, breathing organism.
And here, in the coming-of-age adventure that we see play out in Speed Racer, young Speed is about to discover why Rex came to that tragic end, and the terrible darkness that lies at the heart of the World Racing League, and the sport he so dearly loves.

Beyond the kaleidoscopic, day-glo aesthetic of this hyper-real, hyper-kinetic world, what most strikes me about Speed Racer is the fact that there is some genuine emotion that underpins the astounding visual flourishes.
From the strong filial bonds on display (helped along tremendously by the performances of senior cast members, Susan Sarandon and John Goodman, as Mom and Pops Racer); the obvious hero worship Speed still holds for his brother; the brooding, tragic, and tangibly physical presence of Racer X (a terrific and terribly effective Matthew Fox); and the struggle young Speed experiences in trying to keep his idealism intact in the crushing, cruel face of high-stakes business, Speed Racer certainly has a heart that beats with a genuine rhythm, a humanizing counterpoint to the adrenalized, pedal-to-the-metal action.
For every neon-laced, anime-inspired set piece, there’s a small character moment that balances it out, and somehow, the Wachowskis manage to pace all of the film’s bits in such a way that a 2 hour 15 minute running time feels far less. (There were honestly only a couple of sections where a minute, perhaps even half, could have been shaved off each, to make the goofy goings-on a tad less strained. Unlike last year’s Transformers or Spider-Man 3, where the kiddy bits were simultaneously condescending, atrocious, and horribly frivolous padding.)
It zips by, this one. But not without leaving its marks. Much like the squiggly trails of coloured light scrawled on the air by the whizzing racing cars during the Maltese Ice Caves sequence, Speed Racer leaves after-images in its wake, both visual and emotional.

As clearly bowled over as I am with it though, I will admit, this isn’t for everyone.
Some will see the frenetic racing sequences and quickly switch off, under the mistaken belief that all Speed Racer is is high velocity eye candy devoid of any genuine human warmth.
Speed Racer also isn’t really built for extremely young kids. (Thus, the PG rating, as some of the young 'uns may need older family members to patiently explain odd bits here and there.) The first protracted racing sequence alone, which shifts the narrative back and forth from the present, to different sections of the past (much as a speeding car rapidly shifts its gears), may lose some of the less-attentive of the kiddie brigade in its non-linear, top-heavy exposition.
I, for one, loved this sequence, enthralled by the poignant idea of “race track as continuum,” capped off by Speed racing the phantom of Rex to the finish line. But then again, that’s just me.
The final moments of the climactic race are also executed via a device that is so tried-and-tested, it’s cliché. Somehow though, the Wachowskis pull it off, orchestrating the emotions the film’s narrative engine runs on to a tee.
And to leave us with the thought that anything—no matter how seemingly trivial—can be an art; that money does not have to—and more importantly, should not—be at the heart of everything; that a cohesive family unit is key; and that it isn’t really about what you can do, but how you can do good while doing what you do, that matters…
Certainly all that must count for something.

At this point, I’d like to underscore the fact that I’ve never really been a fan of Tatsuo Yoshida’s original animated Mach Go Go Go (Speed Racer in its American incarnation). I’ve seen snippets of some episodes of course, just enough to know that the tone of the series wasn’t really for me.
Despite never having gotten into it though, I was aware of the characters—Chim-Chim, Racer X, Trixie, et al—and their basic relationships with each other; I was aware of the visual signatures; I was aware of the song.*
So I really had no vested interest in whether the film would be any good, beyond the fact that I was hoping it could redeem the Wachowskis in my eyes.
I’m so glad it did. I’m thrilled that the Wachowskis could give a non-fan like myself a grand, rousing time at the cinema.
I’m glad that they could give me a film that has decidedly more humanity than The Matrix, that has a readily apparent soul that informs the technical and visual virtuosity that they are so clearly wizards of.
And I’m glad they proved they hadn’t completely lost their game.

Set in a world that is arguably more visually vibrant and stimulating than the Matrix, Speed Racer is a cinematic experience that fires on all of its cylinders, more than making up for the Matrix sequels.
It may not end up as seismic a pop culture event as The Matrix was, and it may not be the low-key piece I was looking for, but it certainly showcases the Wachowskis’ visual strengths in a package infused with humour, warmth, and emotion.
And granted, it isn’t for everyone, but for those of you who dig stylized storytelling, who can appreciate the paradox of obvious artifice and earnest emotion playing off each other and fusing under the elusive alchemy of skilled filmmaking, I think Speed Racer’s just the ride for you.

* Dang, the film version of the theme song (by Ali Dee and the Deekompressors) is a particularly dangerous—and terribly fun—meme…

(Speed Racer OS’s courtesy of impawards.com [design by Concept Arts]; images courtesy of speedracerthemovie.warnerbros.com.)