he year is 2054 and Paris is a network of corporate empires, towering buildings, and a labyrinthine underworld. But while technology has advanced, so too has the organized criminal threat, and for troubled cop Karas (voiced by Daniel Craig) each night brings a new dangerous mission to ebb the ever-increasing flow of villainy. His latest assignment finds him searching for the missing geneticist Ilona (Romola Garai) – an undertaking that will pit him against the deceptive Avalon Corporation, high-tech thugs and gangsters, and a mysterious conspiracy to cover up a devastating discovery.

Initially, the stunningly creative visual style of Christian Volckman’s “Renaissance” will either enthrall or annoy viewers, depending on one’s tolerance for stark contrasts – but underneath lies a slick noir thriller that fittingly complements the extraordinary imagery. Even though its deliberate pacing may provoke a style-over-substance impression that’s hard to shake until the climax aptly fits the puzzle pieces together, the style of “Renaissance” is easily its most innovative feature. Searing black and white graphics sprawl across the screen, instantly recalling the rotoscoped works of Richard Linklater’s “Waking Life” and “A Scanner Darkly,” though a more careful examination will reveal a technique far more complex.

Rather than just animating over live action, the creators of “Renaissance” decided to take their experiment a step further. First, the scenes were filmed with real actors, with their movements recorded using motion-capture equipment. Computer-generated character models were then mapped onto the actors’ motions and, finally, everything was placed into CG environments and shaded with the picture’s unique, grayless, black-and-white look. This almost overly complicated approach simultaneously helps and hinders the narrative.

Inconsistent in its overall appearance, “Renaissance” at times resembles a comic book, a video game, and an Esurance commercial. The spectacular fashioning of “Sin City” might also come to mind at the start, but the differences quickly surface with the realization that there is only black and white and no (or scant few) softer tones in-between (or flashes of varying colors). This extreme contrast can be jarringly abrasive with close-ups and heavy action, yet detailed and beautiful with steady pans and establishing scenery shots. Faces are given much less attention in shading and line work, while breakneck action sequences suffer from the confusion caused by the vagaries of the monochromatic scheme. Framing and camera angles certainly benefit from the freedom inherent with such ample CG usage, and the noir mood is emphasized by the feeling of constant night. Though the aesthetic appeal will vary from person to person, the style does lend itself to a continually fresh and interesting look, as the art designers create a believably futuristic setting reminiscent of “Minority Report” or “Blade Runner.” Such additives help to counteract the rather slow build of the story, which may take all the way until the very end before audiences fully appreciate its twisting subtleties.

“Renaissance’s” story amply borrows from the best, but it still manages to add its own distinguishable signature to the mix. A solid voice cast balances out the sometimes clichéd dialogue, while the futuristic mystery will keep viewers guessing as they follow the charismatic antihero’s journey to the guarded truth, which is worth the wait for those fascinated by the genre. Chances are, audiences will know within a few minutes whether or not they’re going to like what “Renaissance” has to offer; either the kinetic visuals will cause instant awe or rapid vexation. Just because few sci-fi noir thrillers emerge each year (if any) – especially looking like this – it doesn’t mean the story is groundbreaking enough to combat a sense of repetitiveness. But that unprecedented visual style, boasting massive technical originality, certainly helps.

– Joel Massie