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| Anyone for some Frolf? |
A long-gestating sequel to the 1982 original, TRON: Legacy was as unlikely a film to appear as anyone growing up in the ‘80s and ‘90s could’ve expected. As noted in my review of TRON, that film wasn’t exactly a jewel in Disney’s cinematic crown, and was just one of a string of less-than-successful films that helped lead to the ascension of a new management team. Yet the film slowly found its niche as a somewhat popular cult film, being continuously re-discovered by successive generations through television repeats, video and DVD. TRON also lead the charge in the rapid rise of computer graphics as the primary vehicle for cutting-edge movie effects - an interesting development, as the film was originally disqualified for Oscar consideration because of this (the Academy feeling that using computers was “cheating”.) Following the (financial!) success of George Lucas’ Star Wars prequels, however, it seemed that Hollywood became more interested than ever in resurrecting any old or dormant franchises that could pull in fan dollars. Yet even amidst the recent onslaught of sequels, prequels, reboots and shared cinematic universes, TRON still seemed like one of the unlikeliest candidates for a 21st century reimagining - especially one that continued the original storyline, rather than receiving a straight remake.
In many ways, though, TRON: Legacy does play like a reboot of the original. Much like Disney’s recent continuation of the Star Wars saga, The Force Awakens, the movie revisits and reinvents many of the same situations and story-beats as the original. As before, we have a protagonist that is sucked into a computer world, forced to fight in gladiatorial video-games, escapes, and joins a pair of video-warriors to take down a tyrannical Program. The fact that this film is "TRON for a new generation” is reinforced from the very start of the film, where the title is given simply as TRON - the full name not shown until the end credits. And while the entire design of The Grid is presented in a much more organic manner (like modern computer effects, trying to mimic reality,) much of the iconography remains recognizable from the original film’s designs. These include the Disc Wars and iconic Light Cycle games, the Recognizer and Solar Sailer transports, and the glowing costumes worn by the cast (achieved this time through physical effects, ironically enough.)
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| Not his daddy's Grid |
In many ways, though, TRON: Legacy does play like a reboot of the original. Much like Disney’s recent continuation of the Star Wars saga, The Force Awakens, the movie revisits and reinvents many of the same situations and story-beats as the original. As before, we have a protagonist that is sucked into a computer world, forced to fight in gladiatorial video-games, escapes, and joins a pair of video-warriors to take down a tyrannical Program. The fact that this film is "TRON for a new generation” is reinforced from the very start of the film, where the title is given simply as TRON - the full name not shown until the end credits. And while the entire design of The Grid is presented in a much more organic manner (like modern computer effects, trying to mimic reality,) much of the iconography remains recognizable from the original film’s designs. These include the Disc Wars and iconic Light Cycle games, the Recognizer and Solar Sailer transports, and the glowing costumes worn by the cast (achieved this time through physical effects, ironically enough.)
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| Born to be wild... |
Besides the design-upgrades, TRON: Legacy continually dances a fine line between nostalgia and the necessities of contemporary cinema. Many of its most obvious callbacks come rapidly in the reality-set opening scenes of the film, including a flashback to young Sam Flynn’s childhood bedroom, stuffed to the rafters with a nerd's-paradise of TRON (and Black Hole!) figurines, read-along records and bedsheets. We also revisit Flynn’s Arcade, which blasts Journey music (their 1983 hit “Separate Ways” - AKA the best damn song ever) when the power is turned back on - a nice touch. We also get a look at a modern ENCOM corporation, seeming more like a dark version of Apple that employs the offspring of the original film’s villain, Ed Dillinger (played here by Cillian Murphy, in an uncredited cameo) - and the office still has “a big door.” Yet the intensity of the action scenes, the increased physicality of the cast, and the sometimes Matrix-esque cinematography helps to differentiate the film from its predecessor - as does less reliance on technobabble and “geek-speak” to explain itself.
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| You can't be worried about that shit. Life goes on, man. |
Possibly the best example of TRON: Legacy’s past/present merging is in its soundtrack. French techno-mavens Daft Punk provide the adrenaline-pumping score, which one-ups the original film’s music in almost every way. Famed electronica artists and admitted TRON fans, this was the pair’s first (and thus far, only) soundtrack effort, and it’s clear that they studied a few recent film-scoring trends while preparing for the task. The film is full of bold blasts of brass, driving string rhythms and repetitive instrumental hooks, reminding one of Hans Zimmer’s Dark Knight scores. Like the original TRON, however, the duo works in plenty of electronic magic, melding the orchestral music with keyboard-infused melodies and digitized samples. Daft Punk even gets to do a bit of what they do best in a trio of songs accompanying scenes at the electronic “End Of Line” nightclub, in which they have a cameo as a pair of DJ Programs (supplying their own headgear, naturally.)
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| Take a look at me now... |
The cast is a mix of old and new faces. Jeff Bridges returns as an aged Kevin Flynn, his decades trapped within The Grid having turned him from the brash young computer-whiz of the first film into a complicated and contemplative mentor figure. With his grey beard and Zen attitude, Bridges often comes across as a mix of Alec Guinness’ Obi-Wan Kenobi and the actor’s own “The Dude” Lebowski. Bridges also voices (and face-models) the film’s antagonist, the rogue Program CLU. Ever an evolving technology, the motion-capture effects used to bring a younger Jeff Bridges to life are … well … not quite there yet. The filmmakers' best efforts to present a mid-’80s Bridges amidst a cast of live actors never really overcomes the “uncanny valley” syndrome, and all believability falls apart as soon as CLU opens his mouth. Bruce Boxleitner, who’s matured into a gravelly-voiced silver fox, returns as Alan Bradley and also voices a CG-recreation of his TRON character.
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| You used to buzz me on my pager, late night when you need my love... |
Heading up the new cast is Garrett Hedlund, who portrays Flynn’s son, Sam. He gives a decent but understated performance, never really rising above the admittedly overwhelming special effects around him. Perhaps the filmmakers could’ve had Hedlund pull double-duty and portray CLU as well, avoiding the ropey CG work and adding a “good son/bad son” element to the story? Strangely, an awful lot of post-release praise has gone to British actor Michael Sheen, playing the duplicitous Program, Castor. The accolades afforded to his flamboyantly campy performance seem to point at a trend of applauding over-the-top acting within genre pictures, something I’ve noticed more and more since the late Heath Ledger’s brilliant performance in 2008’s The Dark Knight. While I’ve always enjoyed a good moustache-twirler, I personally find Sheen’s character really annoying.
For me, the standout in the cast is Olivia Wilde, playing the "isomorphic algorithm" Quorra, her wide eyes and asymmetrical haircut helping her stand out from a cast full of bland models. Beyond the look, Wilde’s Quorra is a more fascinating character than any other in the film; her seemingly endless desire for knowledge about the outside world brings a sense of childlike wonder that comes across beautifully in the performance. She also portrays her character as a focused fighter and survivalist, her dedicated energy livening up many effects-heavy action scenes. Though Quorra’s character doesn’t go through any major changes over the course of the story, she’s nonetheless fascinating to watch, jumping from wide-eyed dreamer to laser-focused warrior. Seeing her take in a real sunrise in the final scenes is perhaps the best ending one could imagine for both the character and the film itself.
In a case of history repeating itself, TRON: Legacy was released to so-so reviews, praised for its stunning visuals but criticized for its thin plot - just as the original was in ‘82. Astoundingly, however, some critics compared the film unfavorably to the original, suddenly regarding TRON as an untouchable classic. Is this blind nostalgia at work, or sloppy criticism? Certainly TRON: Legacy isn’t the best film by any stretch - the plot is a predictable copy of the original, there’s too much exposition spread throughout the film, and there are some interesting ideas brought up that could’ve been explored further (the digital/organic Iso’s, for example.) In spite of this, there are many (myself included) that appreciate the film for what it is: a well-made modern action film that pays homage to the original. Then again, perhaps too much homage was paid, so that not enough time was spent developing its own identity? Maybe I enjoy the sequel so much because I love the original? I have to point out, however, that there are those - like my significant other - that enjoy this film immensely despite hating the original.
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| Ziggy plaaaaaaayed guitaaaar... |
For me, the standout in the cast is Olivia Wilde, playing the "isomorphic algorithm" Quorra, her wide eyes and asymmetrical haircut helping her stand out from a cast full of bland models. Beyond the look, Wilde’s Quorra is a more fascinating character than any other in the film; her seemingly endless desire for knowledge about the outside world brings a sense of childlike wonder that comes across beautifully in the performance. She also portrays her character as a focused fighter and survivalist, her dedicated energy livening up many effects-heavy action scenes. Though Quorra’s character doesn’t go through any major changes over the course of the story, she’s nonetheless fascinating to watch, jumping from wide-eyed dreamer to laser-focused warrior. Seeing her take in a real sunrise in the final scenes is perhaps the best ending one could imagine for both the character and the film itself.
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| Quorra v2.0, now with Velma Kelly mod |
In a case of history repeating itself, TRON: Legacy was released to so-so reviews, praised for its stunning visuals but criticized for its thin plot - just as the original was in ‘82. Astoundingly, however, some critics compared the film unfavorably to the original, suddenly regarding TRON as an untouchable classic. Is this blind nostalgia at work, or sloppy criticism? Certainly TRON: Legacy isn’t the best film by any stretch - the plot is a predictable copy of the original, there’s too much exposition spread throughout the film, and there are some interesting ideas brought up that could’ve been explored further (the digital/organic Iso’s, for example.) In spite of this, there are many (myself included) that appreciate the film for what it is: a well-made modern action film that pays homage to the original. Then again, perhaps too much homage was paid, so that not enough time was spent developing its own identity? Maybe I enjoy the sequel so much because I love the original? I have to point out, however, that there are those - like my significant other - that enjoy this film immensely despite hating the original.
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| Tight ends only... |
The film earned just over $400 million on a $170 million budget, but having put so much time and additional money on a multi-platform marketing blitz, Disney was underwhelmed by the films returns. Despite the greenlighting of a follow-up film in early 2015, and with director Joseph Kosinski and much of the cast ready to go (with a script nearing completion,) by late May Disney had changed its mind and halted any further work from moving forward. Since the company’s acquisitions of Marvel in 2009 and Lucasfilm in 2012 - and the massive financial successes that those brands have garnered - it seems less and less likely that Disney will be pushing ahead with any home-grown sci-fi franchises anytime soon. At least we lovers of the strange and wonderful world of TRON were allowed a brief moment to bask in the glow of the mainstream, and even got a pretty decent movie in the deal.
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