That the film was successful at the box office is a sure thing, thanks to aggressive marketing they‘ve done to promote the flick, a completely different story instead, is regard the criticism to the movie that does not seem to finish. In fact I’m not the only one that thinks that Tron: Legacy is not such a big deal.
hollywood.com - ˝Tron: Legacy's cinematic malignancies stem from a sole fundamental failure: The Grid is boring.˝
˝It seems such an understatement to say, "The problem with Tron: Legacy is ..." because, in all fairness, Joseph Kosinksi's film doesn't have a single problem. It's got problems. Plural. The problem sectors in script and on screen gravitate towards one another, feeding off of each other's deficiencies in some kind of perverse, parasitic relationship that results in them swelling in size until their hideous mass - this swirling, twisted orgy of character failings, action shortcomings and single-minded direction - is so big that it simply must be addressed. But even though it has a myriad of them, all of Tron: Legacy's cinematic malignancies stem from a sole fundamental failure: The Grid is boring.I'm not the kind of person that thinks every film should adhere to a formula that's proven to have worked in the past, but I can't help but imagine how much more weight would have been given to every facet of Tron: Legacy had Kosinski taken some simple cues from the carnival scene in Steven Spielberg's A.I. Essentially the same thing happens in both: Undesirable non-humans are being rounded up for an arbitrary reason and executed publicly to the delight of an oppressing, self-appointed master race. And just when it comes time for our hero to meet a cruel fate, someone realizes he's not like everyone else in the arena.
In A.I., we see all of that. We see what life is like for the non-humans. We care whether or not they're executed. We see the kind of people that want them executed. We see the devilish joy it brings them, and we're repulsed by it. Not in Tron: Legacy, though. No emotions are ever established. And if no emotions are ever established, why should we care about anything that happens to the denizens of the Grid? Without that kind of investment, you've just made a two hour-long Daft Punk music video. And while that's awesome for Daft Punk fans, it's a problem if you're trying to make anything more complex than a light show.˝
ew.com - ˝It transpires that Bridges' Flynn hasn't been doing much for 20 years but sitting around˝
˝As long as it's engaged in light-hurling bouts of force, or motorcycle chases through a landscape so ominously enveloping it looks like Blade Runner after gentrification, TRON: Legacy is a catchy popcorn pleasure. The movie has a seductive, percolating, what's-old-is-new-again musical score by the French electronica duo Daft Punk, and for lengthy swatches of it I grooved on the look and the atmosphere. Joseph Kosinski's direction is just intriguing enough to leave you hoping that when Sam finally locates his father amid all those irradiated bytes and bits, the story will really take off.
But TRON: Legacy turns out to be a little too much like one of those logy trapped-on-Planet X sci-fi movies from the 1950s: There's a lot of dramatic stasis undergirding the visual wow. It transpires that Bridges' Flynn hasn't been doing much for 20 years but sitting around — the portal that would allow him to leave has been sealed off — and his fascist nemesis, returning from the first film, is once again Clu, now played by a digitized version of the young Bridges. In his rubbery Botox-android way, he's creepy to look at (and he makes you wonder if this will be the future for aging movie stars), but there isn't much to Clu besides his telegenic blank stare. Here, as in TRON, there are limits to how much technology can really express. As Flynn, Bridges acts very beatnik Zen, like a weary cyber version of the Dude, and Michael Sheen is on hand as a sinister nightclub impresario who primps and soft-shoes like an albino Davy Jones wearing David Bowie's Aladdin Sane shag. Olivia Wilde, as Sam's cybernetic love interest, does some pretty standard punk-arm-candy posing.
One reason the original TRON was greeted with so much hostility is that it seemed, in its cheesy synthesized way, to represent a brave new world not just of digital outer space, but of movies consumed by their own effects. At the time, this was a future a lot of people didn't want to see Hollywood embrace. But, of course, it's the future that won out. And that may be the true legacy of TRON. The sequel, more successfully (if less innocently), injects you into a luminous action matrix and asks you to be happy with the ride. But it's easier now not to object. At the movies, the fantastical-synthetic has become a state of mind that we're never allowed to escape.˝
Written and directed by Terrence Malick, The Tree of Life tells the impressionistic story of a mid-west family in the 1950. The story follows the life of the eldest son Jack (Seann Penn), through the phase of his carefree childhood to his disillusioned adult as he tries to reconcile with his father (Brad Pitt) .
