Tron Legacy

[S.A.A.D.]

It seems like some critics are confused as to what the movie is actually suppose to be about.

 

[terry78]

What's to get? Even little kids have figured out it's about that guy going into the computer to find his lost dad.

 

[Project862006]

so is this gonna be another watchmen

i loved watchmen so lol

 

[Webhead2006]

who knows critics say one thing the only thing that matters is the audience and will they get good box office numbers. which i am sure there will be a decent bo run domestically and internationally.

 

[ttotheusher]

Blade Runner was trashed by critic's when it was first released too; I highly doubt it will be up to that level, but I'm just saying...

 

[Poetic Chaos]

lol at the fleshlight comparison.

 

[TheComicbookKid]

wow, man. These reviews

http://www.digitalspy.com/movies/moviereviews/a291545/tron-legacy.html?rss

"A huge disappointment, Tron: Fallacy (as it deserves to be known) proves Shakespeare right with his prophetic "all that glisters is not gold". "

 

[rashad]

The Wrap Review - 'Tron: Legacy' Don't Believe The Hype
http://www.thewrap.com/movies/article/review-tron-legacy-dont-believe-hype-23016?page=0,0

 

[Kane52630]

Tron: Legacy World of Tron Featurette

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guardian.co.uk Review 3/5

http://www.guardian.co.uk/film/2010/dec/05/tron-legacy-film-review

It is often beautiful to look at, and could come to represent the fashion tropes of its era as faithfully as its predecessor did. And the silliness somehow adds to the enjoyment rather than detracting from it. It's the best kind of bonkers.

iamROGUE Review 4.5/5

Tron: Legacy is an exciting and beautiful film that I can guarantee will be considered a classic, just like the first.

Clothes on Film Review

There are flourishes of brilliance, particularly in score, costumes and set design. However, this brilliance is often buried beneath messy, disjointed action sequences and a story that fails to make any sense at all.

 

[Webhead2006]

Blah to those negative ones. They probablh didn't care for the film. Though I don't care I am still going to see it.

 

[Webhead2006]

Blah to those negative ones. They probablh didn't care for the film. Though I don't care I am still going to see it.

 

[GREEN =w= DAY]

since when do people even care what critics say? those morons should get off their high horse and get a job that doesn't involve saying what's good and what's not. we can do that ourselves

 

[That-Guy]

Yeah, sometimes I read reviews and I'm amazed by the way so many critics will praise the hell out of a movie for doing something that they lambasted another movie for a week prior. The truth is, critics are as bad as regular moviegoers. They think they're objective but they walk into a movie thinking it's either going to be worthy or it's going to suck and that affects their overall assessment.

 

[Octoberist]

But it's funny how people treat film critics. If a movie that is well liked, then they are our allies. If the movie gets bad review but then they are the enemies. Then if a bad movie that deserves bad reviews, then critics are cool.

Get my drift?

BUT I WON'T BASH CRITICS when I haven't seen the damn movie yet. I can't say they don't know what they're talking about when I'm in the right (yet). Because either they're friggin' right about the film, or they're friggin' wrong. We'll see. Until I do, I'll keep their reviews in mind, but I'll see the movie with a blank slate (as always).

 

[Passdom]

But it's funny how people treat film critics. If a movie that is well liked, then they are our allies. If the movie gets bad review but then they are the enemies. Then if a bad movie that deserves bad reviews, then critics are cool.

Get my drift?

BUT I WON'T BASH CRITICS when I haven't seen the damn movie yet. I can't say they don't know what they're talking about when I'm in the right (yet). Because either they're friggin' right about the film, or they're friggin' wrong. We'll see. Until I do, I'll keep their reviews in mind, but I'll see the movie with a blank slate (as always).

The people who are the quickest to point to critics loving a movie that they love are the same ones who then hate on critics for loving a movie they hate.

 

[Timstuff]

While I don't think one should become too invested in reviews, there does come a point where if a movie sucks bad enough it's going to be reflected in the reviews. I wanted to believe that The Last Airbender couldn't possibly be as bad as the critics were saying, but alas, it was. I'm not suggesting that Tron Legacy is a bad movie (I'm quite looking forward to it), let alone as bad as The Last Airbender, but I'm just throwing that out there for future reference.

 

[JAK®]

While I don't think one should become too invested in reviews, there does come a point where if a movie sucks bad enough it's going to be reflected in the reviews. I wanted to believe that The Last Airbender couldn't possibly be as bad as the critics were saying, but alas, it was. I'm not suggesting that Tron Legacy is a bad movie (I'm quite looking forward to it), let alone as bad as The Last Airbender, but I'm just throwing that out there for future reference.

This is true, unless the good/bad reviews are 50/50. Then it becomes an either love it or hate it situation.

 

[Anita18]

This is true, unless the good/bad reviews are 50/50. Then it becomes an either love it or hate it situation.

In those cases, more often than not the movie's not out-and-out BAD. Just not some people's tastes. Which is totally fine.

Although I'm with people's responses over the reviews. This happens EVERY TIME reviews come out for an anticipated movie on SHH. EVERY. TIME.

I heard from a nerdy friend who's seen Tron that it's good, although it won't be winning any writing awards. He doesn't think it's sucky though, just regular big-budget movie writing.

Honestly, it just sounds like we have another typical cool-looking big-budget movie. But this time with DAFT PUNK.

 

[Hush]

It'll be good don't worry guys. I mean IGN praised it and they are pretty Nerdy with their reviews.

 

[Kane52630]

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[Webhead2006]

So true about crtics. That is a reason I don't really care about reviews to often. If I see a film its cause its on a topic I like, actors I enjoy seeing/directors too. Or if it peaked my interests with trailers.

 

[Kane52630]

Some more reviews and Octoberist you hit the nail on the head

Mania.com Review "A"

The ongoing battle between Ten-Year-Old Me and Thirty-Eight-Year-Old Me finds another pitched battleground in TRON: Legacy. I’m pleased to announce that Ten-Year-Old Me has won this round, meaning that Legacy is officially the coolest film in the history of everything, and each of you should go see it eighty gazillion times.

Spoiler

Oh, Thirty-Eight-Year-Old Me has a case to make for those interested in snuffing out all light and joy this holiday season. He originally pointed out that Legacy follows the same shopworn narrative arc as the first TRON, with a clever outsider sucked into a strange world inside the computer. Said outsider travels through a land of sentient programs and artificial vistas created by binary codes, battling in a series of gladiatorial games before escaping and joining a resistance movement to overthrow the computer world’s evil overlord. His name is Sam Flynn (Garret Hedlund), son of Kevin Flynn (Jeff Bridges) from the original film. Flynn the elder disappeared into the datastream some time ago, and as Flynn the younger discovers, papa has been awfully busy in the interim.

Thirty-Eight-Year-Old Me conceded that the father-son dynamic lends Legacy a slightly new wrinkle, as the two Flynns team up to fight the evil program CLU (also Bridges) and its vision of neo-fascist perfection. However, Thirty-Eight-Year-Old Me contended that the story remains unduly flimsy, with simplistic tropes filling in for genuine drama and an undue emphasis on surface impressions. He also pointed out that Hedlund is rather bland, and that his sharing the stage with Bridges makes it abundantly clear which of the two we’d rather follow around. Perhaps most importantly, he maintained that the film doesn’t have the first idea what to do with its title character (Bruce Boxleitner), who, like the first TRON, acts more as an afterthought than a major player. The more time went on, the more the oversight bugged him.

At that point, Ten-Year-Old Me decked Thirty-Eight-Year-Old Me with an office chair, threw sand in his eyes, and drop-kicked him in the spinal column while screaming “INFIDEL!!!” at the top of his lungs. The debate then reverted to a more impromptu format until Thirty-Eight-Year-Old Me crawled whimpering into a storm drain, promising to be good.

Ten-Year-Old Me’s point? The universe onscreen just takes the breath away. Director Joseph Kosinski and his team have built upon the basic concepts of the original TRON to create a universe unparalleled in its depth and wonder. The famous lightcycles which served as the first film’s signature have become infinitely more elegant, gliding across multi-level playing fields in graceful arcs rather than harsh angles. Yet they remain no less exciting for their imagery, and the sudden crashes and “derezzing” remain just as white knuckle as they did the first time around.

So too does the rest of TRON: Legacy invoke the past while reaching for the future, from the iconic disc duels to those giant floating stompers that periodically menace the hapless inhabitants below. The concept designs feel sleek and intoxicating, aided by music from the celebrated duo Daft Punk (the soundtrack… oh my God the soundtrack!) Even the use of 3D carries a special quality, not only for the way it allows us to revel in the depths of this universe, but in the way Kosinski sets our own mundane world apart with it (“real world” shots are all in 2D).

TRON: Legacy does little to explain the whys and wherefores of its universe, but you can sense its innate rhythm and flow, aiding by terrific performances from Bridges and Michael Sheen (providing a unique riff on Ziggy Stardust). Bridges’ CLU also reveals a lot more personality than the faceless Master Control of the first film, and the slightly off-putting nature of the actor’s computer-enhanced youth actually enhances the character’s artificial creepiness.

That all is just too much ammo in Ten-Year-Old Me’s corner to deny. The “A” grade at the top of this review reflects not perfection--far from it--but the way TRON: Legacy reminds us of the wonders this medium can bring. To watch it and be receptive to its vision is to understand how movies can show us things we’ve never seen before. It transports us in the same way Star Wars and The Wizard of Oz do. It makes us believe so strongly in its landscape that any questions about dodgy plot holes or thin characterizations simply die on our lips. The flaws are there, if you choose to look for them, but why on Earth would you want to? TRON: Legacy speaks to us on a more primal level: the only level where films like this really count. Leave Thirty-Eight-Year-Old Me at home for this one. He’s just too much of a killjoy.

OnTheBox Review 4/5

So the world of film-making has come as close to catching up with the imagination of Steven Lisberger as it ever will, but 28 years after it’s debut, many were wondering if Tron could finally deliver a film package worthy of such a sprawling premise. While the original certainly wasn’t the greatest movie of the 1980s, it was arguably one of the most important. Without that flawed but utterly entropic idea of mankind fusing itself with technology and hammering around on glowing motorbikes, there would have been no Neo, and Arnie’s career would have peaked with Conan.

Spoiler

Yet while the Matrix and Terminator franchises broke down like a pair of light-cycles in a Scottish snow drift, the Tron legacy is looking much brighter. We knew that this film would surpass the original in terms of visual effects, but we also needed a sense of purpose to make these various epilepsy-triggering sequences worthy of our attention. This could have been a contrived and wafer-thin tale which served simply as a futuristic vehicle for a CGI orgy, but thankfully there is a meaty plot arc at work here. Bringing together two long-seperated films is a difficult task, but under the watchful eye of Lisberger, director Joseph Kosinski has managed it briiliantly on his big-screen debut.

We pick up the story in 1989, with a waxy-faced version of Kevin Flynn telling his young son Sam about his adventures and creations on the grid. By all accounts he’s been pulling a lot of ‘all-nighters’ at the office of late, but they seem to be paying off because he boasts of a discovery that will change “everything mankind thinks it knows about religion, science and the rest of the universe..” However, before his bosses at ENCOM (who have become perturbed by Flynn’s eccentric behaviour) can offer him a pay-rise, he has vanished, leaving Sam the disillusioned majority shareholder of the company. Cut to the present day and Flynn Jr is now a computer whizz with a penchant for riding his motorbike too fast. Basically he has already managed to master the two most important skills that any Tron newby needs to survive life on the grid. Indeed we’re somewhat surprised to hear that he’s not a regional frisbee champion… Needless to say, Sam soon finds himself back at a very rundown Flynn’s Arcade and wouldn’t you just know it? He ends up being sucked through the same portal that his old man fell through a couple of decades before, thus realising that his dad has been neither “dead” nor “chilling in Costa Rica”.

During the high-octane ‘games’, which form a entertaining introduction to the world of the grid, Sam bumps into a couple of his dad’s old friends; Tron – who identifies Sam as a user during a disc duel – and CLU, the being created by Kevin all those years ago to help him create the perfect system. Through frequent well-positioned flash-backs, we find out that the once good Tron has fallen under the command of CLU (or CLU 2 to give him his official title), who has exiled Kevin to the outskirts of the grid, where he lives with a very sexy programme named Quorra (Olivia Wilde). Once Sam locates his old man, these short backstory monologues add much needed texture to the story and by explaining some of the grid’s political history, they make Tron: Legacy accessible even for those who have not seen the original.

With all that out of the way, we can finally cut to the (light-cycle) chase. Let’s face it – that’s what we’ve all been looking forward to. The corresponding scene was undoubtedly the most iconic in the 80s version and Tron: Legacy delivers a worthy re-imagining three decades later. 3D has been maligned in many quarters this year, but in some cases it really comes into it’s own. Forget Toy Story*, this is what those clunky specs were made for.

*Toy Story 3 was amazing..

io9 Review: "Tron Legacy is this year's Avatar"

io9 had the opportunity to see Tron Legacy prior to the film's international release. What can audiences anticipate when they enter the Grid? Here's our first impressions report.

For better or worse, Tron Legacy is this season's Avatar. Both films cost buckets of money to make, largely eschew star power, look dapper in 3-D, and offer their own (take-it-or-leave-it) philosophical digestifs once all the big crazy set pieces are done. Unlike Avatar, which strived to create the most naturalistic fake world it could, Tron Legacy embraces the synthetic. The film seemingly has a five-color palette (even the real world is swaddled in blacks, neons, and greys), and the color green is almost nonexistent. It's uncanny how Tron Legacy looked almost exactly like the multiplex I was sitting in — the theater's electric blue track lighting and black plastic stadium seats seemed like extensions of the film.

Whether this was intentional or not, this comparison is apt. Director Joe Kosinski has said the film is a tech-age Wizard of Oz and that the film's escapism from 2010 is unabashed. In a nutshell, Tron Legacy is an escape to a hyper-evolved 1982. When you step into the theater, you leave the spam and Stuxnets and other unpleasantries of 21st-century computing for a pocket dimension where a gang of totalitarian programs force dissenters to play life-or-death games of Arkanoid and Snake. The film looks new, but its dangers are quaintly 1980s. No one in the Grid will steal your Facebook password or sell your PIN number to deposed Nigerian royalty. Compared to the myriad frustrations of modern computing, the idea of your dad's digital doppelganger trying to kill you in a lightcycle match is a retrofuturistic delight.

But I'm getting ahead of myself. What's Tron Legacy about? Truth is, it follows a very similar trajectory to the first one. Spoilers ahead.

Spoiler

The film opens (in 2-D) in 1989 with Tron protagonist and ENCOM CEO Kevin Flynn (Jeff Bridges) infodumping the entire first film as a bedtime story on his young son Sam. Flynn ominously disappears one day, and we cut to 2010, where Sam (Garrett Hedlund) is a twentysomething freedom-of-information prankster who leaks new software just to raise hell in the ENCOM board room. After Alan Bradley (Bruce Boxleitner) tells Sam that he got a mysterious message from the dilapidated Flynn's Arcade, Sam goes to investigate and gets lasered into the Grid.

First Impression: Tron Legacy is this year's Avatar At this point, the 3-D kicks in. Sam is shanghaied off by a Recognizer to the Tron City arena, where the comely servant programs — "the Sirens" — give him his disc and requisite speed suit.

Two high-octane arena games later, Sam discovers that his father's former digital avatar, CLU, is in charge, Kevin Flynn's in exile on the Grid's fringes, and that his dad's digital disciple Quorra (Olivia Wilde) wants to get all Weird Science with him (there's nothing as steamy as the lost Tron and Yori love scene from the first movie). Sure, Sam's got only eight hours to escape back into meatspace, but that's enough time for some quality bonding with his lost pop.

In terms of set pieces, Tron Legacy follows the first film faithfully — there are lightcycles, updated disc battles, and even a ride on the Solar Sailer. I do however wish this film had embraced some of the weirder designs of the first (see: the freaky tower guardians). The special effects give these scenes enough juice to make it not a retread. There's no flat-faced MCP or giant Sark, but there's the mysterious disc-slinger Rinzler, James Frain of True Blood as the servile program Jarvis, and plenty of pixel-scarred programs. The film also dabbles with the idea of spontaneous AI in a way that is purposefully vague — should there be a sequel, this is the plot point that has the most untapped potential.

If you've never seen the first Tron, you can make it through the movie no sweat, as Tron Legacy is primarily a chase sequence to the portal. It's not super-deep, but neither was the first film. It should sate the nostalgia cravings of fans of the first Tron, as the Grid of Tron Legacy is a product of the past. It's a virtual world that's grown up in a vacuum since 1989, so there's no technobabble and the greatest technological change was that the programs figured out how to take off their white bike helmets. It's sleek, unapologetic escapism, which is a rare feat given that even Optimus Prime gargles up pathos nowadays.

PS: Daft Punk's soundtrack is pretty spectacular too. There are a few generic orchestral tracks, but when it cooks, it cooks.

 

[GhostPoet]

I keep reading the bad reviews...and I'm just not sure where they are coming from. All I see are a bunch of typical, generic movie snobs with no real sense of taste as they are typically too busy tearing a part films to actually watch them. This is why I've found film reviewers to be extremely unreliable in 99% of the cases of movies. On the rarest of occassion I will find them to be correct...but mostly...they are just spouting crap.

 

[GhostPoet]

keep in mind the first Tron film got a 68%...so any hopes of good reviews from critics on ANY Tron film is going to be rare.

 

[Jackasscoley15]

Like somebody else said, I'm just going to watch this as a two-hour Daft Punk music video/theme park attraction, a purely sense-driven thrill-ride. In that regard, I predict it to exceed my expectations, because anticipating any kind of emotional stimulation or engaging plot would just be silly at this point, in my opinion.