The artificial world is wonderfully well-rendered, building on the earlier film's ability to bring visual excitement to what must in reality, after all, be slim pickings: invisible ones and zeroes. I soon topped off on the thrill of watching Frisbees of light being hurled, but some of the chases and architectural details are effective simply because they use sites and spaces never seen. And the soundtrack by Daft Punk has such urgent electronic force that the visuals sometimes almost play as its accompaniment. It might not be safe to play this soundtrack in the car. The plot is another matter. It's a catastrophe, short-changing the characters and befuddling the audience. No doubt an online guru will produce a synopsis of everything that happens, but this isn't like an opera, where you can peek at the program notes.
Nolan Murtha: I think creating the suspension of disbelief with digital characters is equally as difficult as doing the same thing with actors in makeup, puppetry, or robotics. Great care has to be put into each of these things or the audience will simply reject it. Great characters are emotionally engaging, and their appearance needs to convey and even enhance their feelings. Body language is of utmost importance.
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With the realism of the characters in Avatar and the successful doubling (and de-aging) of well-known actors in Benjamin Button and TRON: Legacy, a lot of people are wondering if we are going to see a wholesale replacement of actors anytime soon. This is a question we hear every few years as the technology advances. Care to weigh in on the debate?
Many films use software such as Massive to program huge armies of digital characters not only to fight each other, but also to respond to stimuli such as terrain or environment. What is the value of simulating digital characters this way? Are there tradeoffs in realism?
Nolan Murtha: Simulations can certainly enhance the scope of a scene. But during Avatar, we captured dozens of crowd members with specific actions and sync across a scene, and they were placed and timed very specifically. Because of our ability to capture and visualize these crowds relative to the action of a scene, along with the fact that we knew the positions of the cameras far in advance, we could fill out a scene knowing what was going to be in camera and where we needed more crowd density. Obviously, crowd simulation software played a large role in the battle scenes.
Nolan Murtha: Well, we will always be solving new problems. In the past year since Avatar has been released, most of the core team involved have been sitting around tables and white boards trying to figure out what we did wrong. We are always looking to improve our pipeline.
I almost don't want to say how much I liked TRON: Legacy. Going into a film cold is always the best way to see it and before seeing this heavily marketed, long gestating sequel, I'd unfortunately heard several well-known critics shower the film with negative adjectives, suitably lowering my expectations. With that mindset, I enjoyed the film immensely. So, I apologize if I rebuild any of those lowered expectations when I say that TRON: Legacy is the epic, thrilling adventure you were hoping for, complete with all of the flaws so commonly made in a Hollywood blockbuster.
Mere seconds into TRON: Legacy, the film sucks its audience in. We hear the voice of Kevin Flynn (Jeff Bridges) explaining The Grid, a digital space he created years ago in the first TRON film, and the camera swoops in to reveal that he's describing it to his son, Sam. The year is 1989 and we, the audience, have our focal point. For both us and Sam, so much time has passed since the groundbreaking first film, we welcome the reminder of exactly what world we are in and when Kevin Flynn disappears, we're just as curious as Sam as to his whereabouts.
Of course, the audience knows where he went. He's spent years on The Grid, a computer generated blend of black, blue and orange which is the setting for most of TRON: Legacy. But it's the stuff that happens before the film hits The Grid that really sets the tone. Flashbacks and news stories tell the story of Kevin Flynn's rise, disappearance and set up an intriguing new world. In this world, the grown up Sam (Garret Hedlund) is rebellious and a bit of a prankster. We follow him around a bit, collecting information at a pace that simultaneously resets our TRON memory while keeping the mystery at the forefront. So, once Sam makes his way onto The Grid in search of dear old Dad, we're emotionally invested and ready for a ride.
If it's anything, TRON: Legacy is most certainly a ride. It hits the ground running with almost non-stop action for the first third of its running time. This is when we see Disc Wars, Light Cycles and all that good stuff you remember from the trailers. Plus, the visuals are awe-inspiring. Then the introduction of Quorra (Olivia Wilde) marks the beginning of a plateau as we're force fed obligatory expositional dialogue trying to explain the plot. "All your questions will be answered," Quorra tells Sam and that's where TRON: Legacy has its first hiccup. Those answers largely come in one scene which feels clunky and confusing. Still, Wilde's wide-eyed performance and glimpses of Bridges channeling The Dude help the film power through until the pace picks up again.
To describe any film as "a roller coaster" is a complete cliche, but TRON: Legacy is almost begging for it. Director Joseph Kosinski, whether he knows it or not, has constructed the film as such: There's the quick build at the beginning, a whole bunch of action at the front, a lull in the middle and an exciting twisty, turny finish. But, like a roller coaster, the slow parts are forgivable because the ride is so much fun and that's what TRON: Legacy is, one of the most fun films of the year. Its biggest flaw though, back to that pesky roller coaster analogy, is that nothing changes by the end. The audience will be exhilarated, entertained, but once you get out of your seat, everything is the same. None of the characters in the film have any real arc. Even when you think they are about to exhibit an arc, it doesn't progress through to fruition.
What does move through to fruition is the score by Daft Punk. The electronic super stars do an Oscar worthy job of combining pulse pounding electronic beats with hummable themes and bombastic orchestral arrangements. The resulting music is the fuel that fires all of TRON: Legacy and even in scenes that feel superfluous, the score is always there to keep it interesting.
Admittedly, you have to forgive TRON: Legacy for a few things in order to truly enjoy it. The CGI on the young Jeff Bridges character, Clu, isn't always perfect. There are scenes and characters in the film that feel completely pointless (Hello Michael Sheen!) and some of the story is slightly unclear. For many people, these issues might be too much to forgive and, most of the time, I'd be one of these people. This time, for some reason, I'm not. The world of TRON: Legacy, with its incredible visuals and fascinating story, sucked me in making the problems melt away. The film is simply too much fun to care.
Even the presence of one of America's most beloved and distinctive screen actors, revisiting a role he played half a lifetime ago, is weird and complicated instead of just fun and sentimental and alluring. Jeff Bridges returns as Kevin Flynn, the computer programmer turned spelunker who discovered, in the original "TRON," that the info-realm we thought consisted of ones and zeroes flowing through electronic circuitry concealed a metaphysical reality where lithe dudes in catsuits waged gladiatorial combat with lethal spinning discs and motorized beams of light. This clever if juvenile fantasy is the key to the long afterlife of "TRON," which tanked on first release but gained currency with subsequent generations of geeks and gamers, who saw in it their introvert obsessions imagined as metaphorical action-adventure (and maybe also a symbolic prefiguring of the Internet).
As the imprisoned Kevin Flynn, Bridges brings about the only notes of humor and humanity and life to "TRON: Legacy," but he also plays Clu, a helper program or avatar or something who has turned against his master, and that's where things get unsettling. Kevin has aged on schedule in his digital purgatory, and looks like 60ish Jeff Bridges, but Clu is ageless, and looks like a rubber-faced Madame Tussaud replica of the 1982 Bridges. (And I have to say: Bridges is one of those magical Paul Newman dudes who seems to look better and better in late middle age.) Sure, the contrast is supposed to be striking, but I think director Joseph Kosinski and his vast special-effects crew are going for a certain flavor of weird-cool-creepy, when what they wind up with is more like get-me-out-of-here icky. Since I'm dispensing faint praise, let's mention Michael Sheen's performance as a rebel program turned Bowie-esque nightclub entrepreneur -- sort of a film-noir slimeball archetype -- and the electronic soundtrack by Daft Punk, who also appear as DJs in Sheen's club.
tag_hash_117This much-discussed 2010 franchise revival is one of those films that got tagged as something of a disappointment because it was pegged as the next would-be Avatar, coming exactly a year after that James Cameron spectacular. While I'm no fan of the film, it is in that weird purgatory of neither being as big of a smash as hoped yet not remotely an outright bomb. In fact, it ended up grossing just a little bit more than a handful of films that we now look upon as unquestionable hits.
tag_hash_118There is a difference between "disappointment" and "flop." As such, it 's hard to argue that the third Todd Phillips Hangover movie doesn't qualify as something of a disappointment. While the second film opened with $135 million over its first five days and brought in a whopping $586m worldwide (compared to the first film's blockbuster $467m worldwide gross in 2009), this third installment opened over the same Memorial Day weekend slot in 2011 and got hammered by Furious 6, earning just $62m in its first five days. 589ccfa754
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