Written and directed by Robert Rippberger, co-written by Luke Medina, Martin Medina and David Largman Murray. A computer genius invents an A.I. life coach to help him find love, but realizes too late he accidentally programmed his manipulative mother into the code. Starring: Frankie Muniz, Violett Beane, Marcia Gay Harden and Taylor Gray.
Typically, when films play with A.I. storylines, things can get out of control or convoluted very quickly so the first thing to credit with the writers of Renner is that they actually keep it fairly simple. It’s a solid idea, one that comes with a nicely sinister background, Robert Rippberger capitalises on that by keeping the atmosphere tinged with foreboding. While interestingly, the foreground is filled with an anxiety ridden romance.
It’s an unusual blend and has an unexpected charm, while it’s fairly plain to see where they’re going with the plot, the naivety and vulnerability to their obsessive compulsive lead keeps you hanging on. Even given Renner does have a predictability to it, it’s still entertaining but the later scenes opened up the potential for something darker and it’s a shame Rippberger didn’t take full advantage.
After a couple decades on screen, you know what you’re getting with Frankie Muniz and that’s not a bad thing. He’s an enjoyable actor to watch but he does struggle with the more intense emotional moments. It would have been fun to see him use his neurotic cleaning and organisation to go more Patrick Bateman rather than exploring his childhood trauma. It feels like he portrays anger and resentment well so it would be interesting to see that really intensified into a dark place, he does dip his toes in with Renner but it’s not hugely satisfying.
Marcia Gay Harden definitely keeps the sinister edge going as our A.I. voice Salenus, although her tone does quickly give away where Renner is headed, that’s no shade on her great performance. Violett Beane is another reason to stay glued in, there’s something transparent yet curious about her character, it’s entertaining to anticipate where she’ll ultimately land. Although the ending in itself is not all that satisfying.
Part of that is the style of Renner feels slightly muted, it’s infected by that neurotic quality to its leading man and ends up feeling a bit too clinical. It’s doing what it needs to do but missing out on a bigger personality or punch to ramp things up. It’s an advantage and a disadvantage that it’s a story told efficiently, it moves at a decent pacing but it’s not adding in the extra detail to make it stand out. With the exception of Renner’s apartment which is excellently designed, and the lighted hallway arch was a superb touch to then be able to play around with the colouring in key moments and add an extra sci-fi feel.
In the larger scale of independent sci-fi, thriller cinema Renner is a pleasant surprise. While its concept may feel familiar, it does have something to add. Mostly through its romantic element, it’s a sci-fi tinged update to the usual anxiety ridden guy trying to find love, mingled with A.I. trouble. Frankie Muniz is reliably enjoyable and has a good chemistry with Violett Beane, the story has a good tension and foreboding to it. The pacing is decent and the direction is solid, even if it doesn’t entirely stand out. While it is fairly predictable and missed its potential to dig into delightfully dark territory, it’s worth the watch for some easy evening viewing.
FilmCarnage.com 