Tron Legacy Review

How and why do you make a sequel to Tron? That’s not a question asked out of the perceived need to protect a holy cow, but more literally out of practicality. The original Tron, released in 1982 starred Jeff Bridges as Kevin Flynn, a cool computer programmer (possibly a role that only The Dude could pull off) who is physically sucked into an electronic world where computer programs are represented by people, everyone wears glowing neon Lycra and videogames are a matter of life and death. With the help of the programs Tron and Yori (created by and thus resembling his friends in the real world), Flynn is able to defeat the sentient Master Control Program that has been taking over his company, Encom, with designs on the world’s governments. Victorious, Flynn returns to reality and becomes CEO. Game over.

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Tron: Legacy picks up a few years later. Flynn has a son and Encom’s business is booming. Then Flynn disappears, leaving said son, Sam, orphaned. Twenty years later, Sam follows a mysterious signal emanating from his father’s long abandoned office. By chance, he finds himself transported to the digital world of The Grid, which is ruled by Clu, a program created by Flynn Sr. Does Clu know the true whereabouts of Sam’s father and can Sam escape from the digital nightmare?

Reigniting this somewhat forgotten brand is an unusual and interesting decision. The original was seen by approximately eleven people on release, but attracted a cult following on video, though far from what you might call a sizable built-in audience to tap into for a big Disney blockbuster. There’s also that essential back-story (as I have carefully relayed to you above) to re-establish to a new audience, the question of how to continue the familiar Tron visual style whilst updating it for the twenty-first century, plus the small issue of Jeff Bridge’s face being slightly more craggy and hairier than the last time around. All of these issues call into question the sensibility of picking up Tron again, even before we mention the risk of irking the fanboy’s ire.

Thankfully, Tron: Legacy tackles these problems head on. First and foremost, the film looks fantastic. The world of Tron is gorgeously designed and wonderful to look at. It is at once majestic and kitsch and director Joseph Kosinski has got the tone exactly right: it both inspires an ominous foreboding and warm nostalgia for eighties naff-ness. As the marketing campaign has made plain, there are two versions of Jeff Bridges in the film: his present-aged self and the much younger Clu embodiment. It is a testament to the special effects team that the digitally recreated Clu is much more instantly recognisable as Bridges than Bridges himself. I rarely get into too much of a froth about special effects, but come awards season, the team behind Tron: Legacy deservedly ought to win every technical gong going.

The film’s score by Daft Punk is also a major highlight and serves to breathe life into what might otherwise be a somewhat cold film. The actors also add some human warmth, with Bridges being both enigmatic as Clu and charismatic as the techno-hippy-monk Flynn. Garret Hedlund as Sam surprises with how regularly he fails to annoy and Olivia Wilde as warrior program Quorra is positively charming. Michael Sheen also turns up as Castor, a program seemingly designed to look like David Bowie and camp it the hell up. There are also some great action sequences, notably the updated light cycle competitions and a simply stunning dogfight which is possibly the most visually impressive thing you’ll have seen on a screen all year.

It’s a shame then, given that Tron: Legacy has so much going for it, that it has such a niggling flaw, which is, crucially, its plot. Whereas its predecessor conveyed interesting ideas in an easily understood manner, Legacy overcomplicates what should be kept simple, throws in maguffins unnecessarily and adds long, unenlightening scenes of exposition. It never really seems sure it’s convincing you either, as if it does not quite buy its own bull, which is disappointing given how much goodwill towards itself the film manages to conjure. There’s also the niggling annoyance that this is all really just setting up Tron 3 (a massive metaphorical door is left wide open to explore in the inevitable second sequel), which strikes me personally as overly cynical movie-making.

Still, a somewhat weak plot and its shameless franchise-establishing is not enough to truly scupper Tron: Legacy as a must-see film this winter. In the build up to its release, Disney brought up comparisons to Avatar on more than one occasion; this film is superior to James Cameron’s big blue beast in every way. If you see one blockbuster, tent-pole, visual effects extravaganza, event movie this year, make it this one.

Megamind Review

Rocketed to earth as a baby, evil blue genius Megamind (Will Ferrell) plots the destruction of his rival, the superhero Metro Man (Brad Pitt) and plans to take over Metro City (mispronounced by our antihero in such a way that it rhymes with ‘monstrosity’). He is aided and abetted by Minion (David Cross), a fish in control of a robotic gorilla body. When Megamind accidently defeats Metro Man, he is free to take over the city, but he quickly becomes bored with success and goes about creating a new hero to fight. Meanwhile, intrepid reporter Roxanne Ritchi (Tina Fey) serves a romantic interest/serial kidnap victim.

Following shortly behind the similarly themed Despicable Me, Megamind takes the established beats and tropes of the superhero movie and skews them, much in the same way The Incredibles did six years ago. Indeed, the influence of that film hangs around Megamind like a bad smell – the true villain of the piece is almost indistinguishable from The Incredibles’ Syndrome and the film asks similar questions of its protagonist: when you have achieved the goals you set out to accomplish in life, what do you do next?

Megamind treads far from fresh territory then, but offers a healthy dose of humour to compensate. After taking a few scenes to hit its stride, Megamind offers a choice selection of tasty Will Ferrell comedy nuggets. His brand of improvisational, over-the-top, zany humour is tailored perfectly to the character of an egocentric super villain. David Cross (perhaps best known for his excellent turn as analyst/therapist – ‘or “analrapist”, if you will’, Dr Tobias Funke in superlative sitcom Arrested Development) is also given plenty of time to shine and the banter between he and Ferrell is grand. Pitt is predictably well-cast in his role as the annoyingly perfect Metro Man.

There is perhaps an argument that Ferrell is at his most consistently amusing when aiming his comedic crosshairs at a slightly younger audience (see also: Elf). In his more adult comedies, Ferrell seems to irritate as many as he amuses, but in Megamind you get a sense of his true, crowd-pleasing potential. That’s not to say I’d want to see him doing nothing but family comedies from now on; far from it. Megamind is simply evidence that the man has such an acute grasp of the funny bone, he could easily be turning out inferior fare in his sleep.

Credit is surely due then for Megamind, a film that is as likely to appeal to mum, dad and the sprogs as it is to the unruly fifteen year olds at the back of the cinema, which is no mean feat. A very decent, if not overly original comedy that very few should take against.