Chronicles of Iron & Ink
- Tagline
- In an age of artistry, the greatest creation was never meant to be.
- Description
- In the midst of the Renaissance, a period bursting with creativity, 'Chronicles of Iron & Ink' follows the story of Leonardo (Tilda Swheaton), a gifted detective with a penchant for the unusual. When a series of cryptic crimes sweep through the city, Leonardo is thrust into an unexpected challenge. The twist? Her main adversary is an enigmatic cyborg (Alpaca Nazimova) with a mysterious past, whose advanced knowledge rivals the greatest minds of the era. As the competition between human wit and mechanical precision intensifies, Christopher Alloyd plays the role of a skeptical police officer caught between the new world of machines and the traditional art of investigation. Directed by the visionary Michelangelo Antelope, this film explores the boundaries of innovation and the dark consequences of unchecked ambition, all while pondering the question: can progress go too far?
- MpaaRating
- PG
- PopularityScore
- 6.10
- ReleaseDate
- 11/09/2023
- Genre
- History
- Director(s)
- Cast
Critic Reviews
3.50
Venturing into 'Chronicles of Iron & Ink', one expects a masterpiece forged from the fires of Renaissance inspiration, yet what unfolds is a narrative as muddled as a palette overwrought with conflicting hues. Swheaton's portrayal of Leonardo is as unconvincing as the film's grasp on historical authenticity, leaving audiences in a lurch between past and present, reality and anachronism. Nazimova's cyborg, while intriguing in concept, clanks about with the subtlety of a sledgehammer in a glassmith's shop, disrupting any semblance of immersion. Alloyd's skeptical officer is as much a skeptic of the film's promise as we are, his disbelief mirroring our own. Director Antelope, whose vision is as scattered as the shards of a shattered fresco, fails to marry the grandeur of the era with the futuristic fantasy it so desperately clings to. In its earnest attempt to question the limits of progress, 'Chronicles of Iron & Ink' manages only to highlight the limitations of its own overreaching ambition. The greatest creation it promised was indeed never meant to be, for it languishes, unachieved, in the purgatory of what-could-have-beens.