David O'ConnellTron: Legacy
December 12th 2010 22:30
Though technically a sequel to an 80’s curio that only its most ardent fans would defend with audible praise, Tron: Legacy is more of a modern re-imagining, utilising modern technological advancements to create a world that won’t sizzle out into something strange and embarrassing about two minutes after conception.
In the film's opening stanza, we flashback to the last moments of contact between young Sam Flynn and his brilliant father, and Tron creator Kevin (Jeff Bridges), before he leaves for work and vanishes from the world. His mysterious disappearance, as well as making international headlines, has left a void in the life of young Sam. We soon see him as a young man (Garrett Hedlund) playing a prank on the ruthless suits he’s left to their own devices in charge of his father’s thriving corporation, ENCOM.
When informed by his father’s sympathetic, loyal friend Alan Bradley (Bruce Boxleitner), of a page emanating from his dad’s long shut-up video arcade, Sam decides to take a look for nostalgia’s sake more than anything. But the discovery of a secret office behind an original Tron game soon sees him dropped into the world of the Grid, where his father’s invented universe has run amuck, transformed into a thriving, alternate world of video-gaming to the death. Presumed to be just another ‘program’ ready to assume its temporary space in this world, Sam might use untapped resources just to survive.
When finally identified as a ‘User’ he earns a face to face meeting with the one who orchestrates everything that exists within this world, Clu (Bridges), who wears the visage of his father but is driven by a burning desire to transfer his dominance of this perfect world to that of the Users. The arrival of Sam he views with glee, for in his creator’s son Clu envisages the key to finally gaining access to the universe that exists beyond the Grid.
Tron: Legacy is built around its striking design and a series of brisk, strangely compelling action sequences that expand upon the now primitive ideas presented in the original film. The special effects are dazzling and though the actors can only ever hope to play strong second fiddle to them, most emerge with their dignity intact. In fact, Bridges, riding a new peak of adoration after his Oscar romp last year for Crazy Heart, pours his soul into Flynn’s withering body. Strip back the pyrotechnics and the fundamental story of a father reconnecting with his son actually begins to take on some weight. Dare I say there’s even a couple of mildly moving moments late in the game as their quest to forge a path from the Grid and somehow resume a normal life together after 20 years reaches its climax.
Debuting director Joseph Kosinski does a very respectable job, never allowing the pace to flag. Hedlund is able bodied and fresh faced, with a strong enough presence to cover the requisite bases for a hero, whilst the lithe Olivia Wilde makes for a striking, alluring accomplice and dexterous allay for the Flynns. Michael Sheen’s glorified cameo as an over-the-top showman/club-owner is an absurdly camp, yet simultaneously riveting one.
It’s impossible to ignore the contribution of French duo Daft Punk and the sonic mystique of their pulsing, wildly appropriate score. An unsubtle combination of electronic and orchestral forces, it represents stylings from both retro and avant-garde worlds.
Once you get over the initial absurdity of this neon-flared world and its costumes, everything seems to assume an appropriate sense of wonder without greedily pandering to excess. The CGI-assisted reconstruction of a youthful Jeff Bridges bears an eerie resemblance to Tom Hanks’ motley crew of emotionally deformed, humanoid characters in The Polar Express (2004). But keeping in mind this visage is mostly used for the portrayal of the ruthless, evil fabrication of Clu, it makes a kind of perfect sense: after all, he’s the central bad guy, a video game construct spawned only from a human mind before assuming a menacing life of his own.
Tron: Legacy (2010) is slick, flashy entertainment and little more. Yet it’s oddly and surprisingly satisfying in other ways, in both evoking nostalgic reveries that have no right to exist after the passing of so many years, and an undeniable urge to see this world continue on in some form. Could it be two hours weren't enough?
Tron: Legacy opens in Australian cinemas this Thursday, December 16.
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Comment by Matt Shea
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
Thanks for reading mate, look forward to hearing your verdict.
Comment by Bryn
Horrorphile
Glad you liked it as much as I did, perhaps not quite as much, but almost as much
I couldn't remember the name given to the digital race Flynn created, of which Quorra is the last one. Can you? I tried looking everywhere online, but there was no mention anywhere.
How cool was Flynn's pad? And nice touch having the original Light Cycle too.
What was your favourite part of the movie?
Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
The light cycle sequence is certainly what kick-started it for me. To be honest, I was surprised how weirdly moving I found it towards the end with regards to the whole father/son bond (and after what I thought was a strangely un-emotional reunion earlier on).
Comment by Bryn
Horrorphile
And, yes, I actually found the ending a tad moving as well, a testament to Bridges wonderful performance, which gets better in my mind the more I think about it ... Shame about the goon behind the CGI face.
Comment by Helli
Watched the movie today. Still speechless.
And messages incepted in it are very powerful.
A gasp of fresh air in the senseless vulgarity of our present world. Truly noble and inspiring esthetics! Bridges is my hero now& Bravo!
Comment by JohnDoe
Film & TV on DVD
The Daft Punk score evoked a similar feeling to the one I have for Vangelis' work on Blade Runner.