‘Tron: Legacy’ Digs Deeper into the World of the Computer

Tron Legacy movie poster

“There is no better moment than this moment, when we’re anticipating the actual moment itself. All of the moments that lead up to the actual moment are truly the best moments. Those are the moments that are filled with good times. Those are the moments in which you are able to think that it is going to be perfect, when the moment actually happens. But, the moment is reality, and reality always kinda sucks!”

-Lewis Black

I include this quote up above because it more or less symbolizes what I feel about the promotion Disney did for the long-awaited sequel to “Tron.” The company overhyped it to an alarming degree, making several different movie trailers and spent a good three years promoting it. With this kind of marketing, many may go into “Tron: Legacy” thinking it will be one of the greatest movies ever made.

As for myself, I weary of the hype and try to go into most movies with little to no expectations whatsoever. In fact, I think it’s better to watch most films with the lowest expectations possible. With the hype which has greeted movies like this or the “Star Wars” prequels or even “Indiana Jones and the Kingdom of the Crystal Skull,” it is way too easy to be incredibly disappointed by the finished product. Nothing ever does come out as well as it does in our imaginations.

Well, reality may suck, but “Tron: Legacy” did not. I walked in expecting a fun time, tickled to death Walt Disney Pictures even bothered to make a sequel to a movie which was not a huge box office success back in 1982. At the very least, this sequel, which has been in the making for over 25 years, is more of a continuation of what came before. What it may lack in a fully coherent storyline, it more than makes up for with amazing visual effects, a fantastic score by Daft Punk, and a pair of great performances from the always reliable, and no longer underappreciated, Jeff Bridges.

So, here’s the story behind “Tron: Legacy:” after saying goodnight to his son Sam, Kevin Flynn rides off to Encom to work on a new digital frontier which will revolutionize the world of technology. Instead, he disappears without a trace. Shift to more than 20 years later, and Sam has become a rebellious young kid with strong technology skills he gleefully uses to thwart the executives at Encom who intend to profit and exploit Flynn’s work, work which Flynn wanted to make available to everyone for free.

Alan Bradley (Bruce Boxleitner) comes to Sam’s domicile one night to inform him he got a page from his dad the other night, and that it came from a line at Flynn’s Arcade which has been shut down for 20 years. Sam goes to the arcade to see what’s what, and we all know what happens from there as he gets sucked into “the grid” the same way his father was, and he is forced to fight for his life by hurling discs and racing light cycles in games which are deadlier than ever.

The premise behind “Tron: Legacy” is actually quite interesting. Kevin Flynn ends up developing a more advanced version of his Clu program who, of course, looks exactly like him. Together, they work to create the perfect system meant to bring about a new kind of life form, but somewhere along the line Clu grew resentful and comes to see a world of perfection far more different than his creator does. Soon afterwards, Clu turns against Flynn, making himself the ruler of all programs, and Flynn is trapped inside “the grid” with no way out.

Throughout, we watch as Clu coldly eliminates those programs which do not meet his high standards. It’s an interesting Frankenstein motif in how a creation runs amuck despite the master’s best intentions, and we all know what this leads to). It also reminded me of a line from “Star Trek: First Contact” which the Borg Queen says, “You’re an imperfect being created by an imperfect being. Finding your weakness is only a matter of time.”

The visual effects are unsurprisingly amazing, and they clearly reflect how far technology has come since the 1980’s. This time, they are much more fluid to where not everything is shown going in a straight line, and this gives the action scenes far more friction than they had in the original. The use of dark and neon-like colors doesn’t feel dated, and the costumes have been given a much-needed upgrade. There’s no more of those bulky suits which Sark’s guards and the MCP had, and the digital world presented here is a dark one and very un-Disney like.

By having “Tron: Legacy” focus on Flynn’s son, it seemed like Disney was desperately trying to court the youth demographics and would have been happy to cast the hottest teen or young adult heartthrob the role. Garrett Hedlund, however, turns out to be quite good and holds his own with Bridges. It’s not a great performance, but he does solid work here and keeps his character from becoming some annoyingly whiny brat whose daddy issues get the best of him. He does, however, have the disadvantage of saying the movie’s cheesiest lines like “this isn’t happening” and “this can’t be good.”

Another actor I enjoyed was Olivia Wilde who plays the warrior program, Quorra. She is a strong and engaging presence here, and her role as a Data-like figure eager to learn about the real world leads to some of the movie’s more intimate, as well as some of its funniest, moments. And yes, she does kick serious ass in the action scenes, easily derezzing those evil programs without even breaking a sweat.

But one actor I truly got a kick out of was Michael Sheen who plays Castor, the owner of the End of The Line Club. Stealing every scene he is in, Sheen holds nothing back as he gleefully hams it up as the life of the party, completely unbound by the soulless machinery at his disposal. We never really did see a program like this in the original “Tron,” did we?

And then there is Bridges who remains one of my all-time favorite movie actors. His performance here reminded of just how good he was in the original as he never let the special effects overwhelm his work as Flynn. Even though he was acting against a green screen more than he wasn’t, he makes himself feel like part of the reality to where it seems like nothing is impossible for the Oscar-winning actor. Oh, and if you listen close enough, there is a line designed to remind you of his famous role as The Dude. Trust me, you will know it once you hear it.

Yes, “Tron: Legacy” does have plot holes and some wooden dialogue, but so did the original. Thankfully, none of the dialogue is as cringe-inducing as the kind George Lucas gave us in the “Star Wars” prequels. Also, the story does get slowed down by exposition which could have been shortened. All the same, I’m glad the writers didn’t get lazy and bring back the Master Control Program (MCP) as if it was never defeated back.

Joseph Kosinski made his directorial debut with this sequel. In the past, he has received acclaim for the “Mad World” commercial for the video game Gears of War, and he has since gone on to direct “Oblivion” and “Only the Brave.” For my money, he does a much better job of blending actors with special effects in a way Lucas never could, and he does well in keeping “Tron: Legacy” from becoming overly-cheesy or infinitely monotonous.

The soundtrack by Daft Punk is infinitely awesome, and the duo is a perfect fit for this kind of material which serves as their first official film score. Like the brilliant score Wendy Carlos did for the first film, their music is a strong mix of orchestral and electronic elements which, and brings a strong sense of humanity and emotion to a wholly technological world.

Could “Tron: Legacy” have been a better film? Sure, but why can’t we just be happy Disney took the big risk of making this sequel? For what it is, I enjoyed it and admired the fact it was made by people who respected its predecessor. More than two decades is a massively long period of time to wait for any sequel, but “Tron: Legacy” was worth the wait for me, and I would certainly be open to seeing it again.

Still, I have to wonder, can human beings really exist in a digital world even though they are users instead of programs? Can a program actually be brought into the real world? Oh, who cares! I had fun!

End of line.

* * * ½ out of * * * *

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‘Oblivion’ is Familiar, and Yet Visually Unique

Oblivion movie poster

On one hand, I feel like I should be punishing “Oblivion” for its lack of originality as the story will easily remind viewers of other science fiction movies like “Total Recall” (the original, not the remake), “Moon,” “The Matrix” and “Logan’s Run.” On the other, I found Joseph Kosinski’s film to be a compelling piece of entertainment, and I liked how he took various elements from those sci-fi movies and put them together to create something which feels more original than I expected it to. The look of “Oblivion” is incredible, and the film benefits from a very strong cast, great visuals, and a truly awesome music score.

Like many science fiction movies, this one takes place in a distant future. The year is 2077, and sixty years earlier an alien invasion destroyed the Moon, which in turn decimated Earth and left it in shambles. Jack Harper (Tom Cruise) is one of the last human beings left, and he and his communications officer Victoria Olsen (Andrea Riseborough) spend their days helping to harvest what’s left of the planet’s natural resources and repairing drones which help protect it from further alien invasions. They are due to leave Earth in two weeks so they can rejoin the rest of humanity which has long since relocated to another planet. Of course, we all know what happens when people say they only have a few weeks before they leave Earth; they don’t.

Talking about “Oblivion” from here gets complicated because I don’t want to give away the story’s twists and turns and have it seem like a plot summary stolen from Wikipedia, but I’ll do my best. One day, a spaceship crashes on Earth which carries a number of capsules with astronauts sleeping inside them. One survivor is astronaut Julia Rusakova (Olga Kurylenko) who, once awoken from her deep sleep, she makes Jack see he has a past which has long since been denied to him.

This is all I’m going to say about the plot as telling you more would be spoiling the fun. Granted, I have seen many science fiction movies, so when the plots twists and turns came here, I wasn’t surprised. At the same, I was very much enthralled by what was going on. Even if I had a pretty good idea of what was coming next, I was still glued to my seat and eager to see what direction the film was going to head in next.

Much of the success with “Oblivion” comes from its distinct visuals which are very striking, and a lot of the credit for this goes not just to Kosinski but also his director of photography Claudio Miranda. I’ve lost count of how many post-apocalyptic movies which show Earth obliterated beyond all repair to where everything is dark, grey and gloomy. Many famous landmarks like the Empire State Building are shown to be either barely standing or covered up with a lot of dirt in “Oblivion,” but this is the first movie of its kind I can remember which takes place mostly in the daylight. While Earth isn’t in one piece in “Oblivion,” there is still a unique beauty to how it looks here. Those snowy mountains still look worth skiing on, and I found it rather comforting to see plants, grass and trees still growing even after an alien invasion, and this gives the movie an uplifting feel.

The other thing I really liked about “Oblivion” was the architecture of the buildings and the design of the spaceships. The Sky Tower which Jack and Victoria live in is beautiful, and I would love to live in it. This tower looks like the world’s most unique condominium, and I’ve never seen anything quite like it before. Also, it has the coolest swimming pool ever, and it makes me more excited about swimming pools than I have been in ages. Plus, I doubt I will see a cooler looking spaceship than the Bubbleship Cruise flies all over the place.

This is only Kosinski’s second movie as a director, but here he seems to have found his filmmaking voice this time around. His first film was “Tron: Legacy,” and like many eagerly awaited science fiction events, it was greeted with an obscene amount of hype and a lot of fan indifference. With “Oblivion,” however, he is not restricted to staying within certain boundaries dictated by a previous film or a long-running franchise, and he also has a stronger story (based on the graphic novel of the same name by him and Arvid Nelson) to work with as well.

Kosinski also benefits greatly from having M83 and Joseph Trapanese as his music composers here. Their score to “Oblivion” is much like what Daft Punk’s was to “Tron: Legacy:” a beautiful combination of electronic and orchestral music which sounds far more original than any other film score I have listened to recently, and it adds so much to the striking visuals of “Oblivion” as well as the emotion inherent in the story.

Much has been said about Cruise as a person these past few years, but I’m still happy to defend him as an actor. His work as Jack Harper is actually quite understated, and he never descends into the state of “grinning like an idiot every fifteen minutes” (as Dougray Scott described him in “Mission: Impossible II”) for too long. That grin does come along from time to time, but not in a way which ends up annoying half the audience. Along with his strong performance in “Jack Reacher,” his work in “Oblivion” proves he’s still a better actor than people tend to give him credit for.

Kurylenko, since her performance as a Bond woman in “Quantum of Solace,” has proven to be far more than a pretty face. This should have been made clear after we saw her in Terrence Malick’s “To the Wonder,” but there’s no mistaking her talent in “Oblivion” as she creates a complex portrait of someone who knows more than she lets on. I also very much enjoyed Riseborough’s performance as Victoria which was sweet and yet somewhat devious, and I look forward to seeing more of her work in the future.

Then there’s the great Melissa Leo who plays Sally, the mission control commander with a thick accent who oversees Jack and Victoria’s work from afar. Just like in “Flight,” she gives her character a sweet voice tinged with serious intentions which leaves the viewers on edge. As nice as she sounds, you can tell there’s some evil plot lurking behind her eyes. Some may see the role of Sally as a small one, but in Leo’s hands, no role can ever seem small when she plays it.

Oh yeah, Morgan Freeman shows up as well as Malcolm Beech. To say more about his character would further give away certain plot points, but I can confirm he gives the usual strong performance we always come to expect from him. Also, it was really cool to see him shooting a heavy-duty pair of fifty caliber machine guns as I’m not sure I have seen him do so before.

“Oblivion” may seem overly derivative, but then again, most movies released these days are far from original. What matters to me is that a filmmaker can take elements from the movies which inspired him/her and make them their own, and Kosinski has succeeded in doing so here. I very much enjoyed how “Oblivion” took me down the rabbit hole films often do, and I absolutely loved the visual look of it. It also benefits from a number of strong performances and a fantastic film score which sounds epic in a way other scores can only aspire to. When all is said and done, this film is quite a cinematic accomplishment.

If you can, see it in IMAX.

* * * ½ out of * * * *