TRON: Legacy 2010 123movies

Watch: TRON: Legacy 2010 123movies, Full Movie Online – Sam Flynn, the tech-savvy 27-year-old son of Kevin Flynn, looks into his father’s disappearance and finds himself pulled into the same world of fierce programs and gladiatorial games where his father has been living for 20 years. Along with Kevin’s loyal confidant Quorra, father and son embark on a life-and-death journey across a visually-stunning cyber universe that has become far more advanced and exceedingly dangerous. Meanwhile, the malevolent program CLU, who dominates the digital world, plans to invade the real world and will stop at nothing to prevent their escape..
Plot: Sam Flynn, the tech-savvy and daring son of Kevin Flynn, investigates his father’s disappearance and is pulled into The Grid. With the help of a mysterious program named Quorra, Sam quests to stop evil dictator Clu from crossing into the real world.
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Ratings:

	6.8/10 Votes: 337,600
	51% | RottenTomatoes
	49/100 | MetaCritic
	N/A Votes: 6257 Popularity: 43.508 | TMDB

Reviews:

Where do you start with Tron: Legacy? It’s a sequel to a minor cult hit that arrived in theaters 28 years ago, a film more renown for its (at the time) state-of-the-art design than its coherent story or classic characters, rekindled now not as a reboot or remake, but as a direct sequel to that long-ago work.

Tron’s esteem may have grown in the intervening years (much the same fate as another maligned-at-the-time science fiction film, Blade Runner), but time has been mostly unkind to it; Disney attempted to stage a run of pre-LEGACY screenings of the original film, but modern audiences greeted its dated appeal as unintentionally hilarious. Frightened by the impact this might have had on their $170 million spectacle, they pulled plans for a theatrical release, and whisked the recent 25th anniversary DVD off of store shelves. And so, bereft of a childhood that contained Tron, I went into the sequel with naught but a Wikipedia plot breakdown (which was, to be honest, frustratingly informative) to fill in what turned out to be largely irrelevant narrative gaps. I say that to say that I am reviewing Legacy solely for Legacy’s sake, untainted by nostalgia or high expectations.

More than two decades after the events of the first film (which, for the uninitiated, involve a computer programmer [Jeff Bridges, reprising his role] being zapped from the physical world into the computer world he created and fighting an oppressive digital tyrant within), we’re introduced to that computer programmer’s twenty-something kid, heir to his father’s tech empire and not terribly happy about it. It seems he’s still hung up on his father’s mysterious disappearance long ago, and a mysterious message leads to him discovering Dear Old Dad’s secret underground lab, where he’s accidentally zapped into the digital world as well. I’m afraid I’m not spoiling anything to go ahead and say that within he finds his trapped father, and they must fight their way back out. To give more plot details would be unfair and pointless. Suffice to say that once within the digital realm, it becomes action beat after action beat wherein our young hero rescues dad and his requisite romantic interest until the film ends.

Oh sure, there are good guys, and there are bad guys, and there’s a token stab at depth, but what does it matter? That digital world looks really cool, right? And that’s why we go. The sad truth of the matter, however, is that what looks awesome in a two-minute trailer begins to wear on the eyes when presented long-form. “The Grid” exists in three colors: neon blue, neon orange, and black. Well, two colors and an absence of color, I suppose. As nifty as this may seem, two-plus hours of this (particularly at the reduced light offered by 3D projection) robs it of interest, and the whole thing becomes a dull slog. 3D works by enhancing depth, but little to no depth is present when the film is lit and shot in such a stylized manner. To boot, only the bad guys are orange. And as our audience proxy characters are good, we’re robbed even of the contrasting orange to break up the monotony.

There are some neat sequences, of course: the initial lightcycle battle, a digital dogfight later on, etc. Garret Hedlund and Oliva Wilde are perfectly fine in their frankly bland roles, and Jeff Bridges squeezes what depth he can into his dual characters (actual Kevin Flynn and his twenty-years-younger digital duplicate, thanks to some unnerving but nifty visual trickery). The film is far from the unwatchable dreck of, say, The Chronicles of Narnia: Voyage of the Dawn Treader. It’s just…not very interesting. Techno group Daft Punk’s score was easily the best part of the film, and something I’d actually recommend picking up with no hesitations. At its best, the Daft Punk score and stylized imagery (early in the film, before it wears you down) do provide a unique and imaginative experience. It’s just one fit for the length of a music video, not a feature film.

But let’s not kid ourselves: Tron: Legacy is a flashy, ridiculous spectacle that exists solely to put pretty pictures onscreen for two hours and drive a $4+ 3D surcharge. And I say that with no judgment. Some films simply are what they are, and you’ve no more right to expect a dog to meow than to glean from them deep meditations on the human condition. The history of cinema is full of this kind of shallow but aloofly entertaining distraction. But is it wrong to want more of these kinds of films? Take Star Wars, for instance: its strength lies mainly in its revolutionary aesthetic and special effects, but it’s the characters that we remember from the film, not just how cool some set-piece looked. And Lucas isn’t even a terribly good writer; the strength of his characters came from that universal pull all great archetypes have, that ability for audience identification and empathy. Will the name Sam Flynn have the same kind of longevity? What about…uh, Oliva Wilde’s character? Apparently not, at least for me. (Note: IMDb says it’s “Quorra.”) If nostalgia for the first film is strong for you, or you’ve no qualms about paying $14+ for a mildly-distracting if uninvolving experience, go for it. Everyone else may as well save themselves the money. Maybe catch it on Blu-ray.

I should note, though, that I can honestly say 3D added nothing to the experience, so if you want to be able to actually see in The Grid, save yourself the money and hop into a 2D seat.

**Lots of style, lots of high-quality visuals, but little substance.**

There are things that are inexplicable, and one of them is how “Tron” managed to become popular, even after not being a big hit in its time. I have already written about it and I stand by what I said: it is a film that I understand, that came in the wake of a popular fever around everything electronic, but that was made before its time, with visual and special effects that, today, seem as archaic as a 1990s cell phone. I don’t know if this movie should be a sequel or if it should have been made a remake instead, but there’s no doubt about the superiority of this movie: not only does it feature visual effects and CGI of great beauty and quality, as it has a frankly better script (which does not mean perfection).

Indeed, the script is satisfactory, presenting an unlikely story, where a very rich young man decides to sabotage his own company thinking he is doing what his father, who disappeared for years, would approve. After that, he receives a message from his father, and the clue leads him to an old arcade, long closed, and to his father’s old computer. It is there that the young man is sucked into a cybernetic space, controlled by a vile and dictatorial program. Yes, humans sucked, physically speaking, into computers. As if social media weren’t enough! Added to this, the worn-out clichés of the relationship between an absent father and a needy son, an essay on a loving sub-plot without any logic, a cartoon villain without personality and made to hate.

Jeff Bridges returns to the character he played in the first film, both in the person of the actor we know, and in the figure of a young alter-ego, created digitally. The actor is good, and we already know his merits, but the truth is that he doesn’t seem to be in great shape. He accompanies the film, following the action, but he is not particularly noticeable in this work, as he was not in the initial film. Garrett Hedlund has a little more visibility and is, in fact, the protagonist here, but he doesn’t do much more than be an action figure.

It is in the technical aspects that the film stands out and deserves some praise, particularly thanks to the extraordinary design of the visual effects and the CGI, which are among the most elegant and well-executed we have seen. Recreating the concepts of the original film, they show a cleaner and more finished look, without obvious gimmicks that are unbelievable to the eyes, and with much better worked colors. However, a film is not made of style and extraordinary visuals, and there are many recent examples of visually amazing films that are worthless because they do not have quality stories. Also noteworthy are the sets and costumes, as well as the electronic soundtrack, by the French dJ duo Daft Punk.

A dazzling and spectacular special effects extravaganza, despite its flaws.
Right off the bat I’m going to say that I didn’t see the first film. Obviously I’ve heard from a lot of people saying that they need to see the first film before watching this one, seeing as this is a direct sequel to a nearly 30 year old cult sci-fi film. But, seeing that I didn’t have time, I decided to watch the sequel anyway.

Now keep in mind that Disney took a HUGE risk in making a sequel to a movie that is not very often talked about when it comes to movies as opposed to many blockbusters today. The first TRON had no famous franchise to speak of (apart from the real games inspired by it). Adding to the danger is the film’s budget – reportedly between US$ 200 – 300 million. With that kind of money you’ll wonder what exactly was Disney hoping for with this film.

Nevermind the fact that the story is a bit unfocused and could be rounded up in a more polished way. Nevermind too that the fantastic world and great ideas aren’t expanded upon some more, as well as the fact that the script could use a little bit more originality.

Also, not forgetting some good (in Jeff Bridges’ case, great as always as he plays two very different characters with perfect emotional resonance – proving that he still has the chops to carry a big movie) performances by the cast – with Garrett Hedlund showing great leading man potential and Olivia Wilde looking great and cute to boot. Michael Sheen, Beau Garrett and Bruce Boxleitner (apparently returning to his role from the first film, so it seems) all give good support.

No sir-ee, what you pay for – and what you get in spades – are the special/visual effects. Goodness me, this is quite possibly the best special effects I’ve seen all year, and that’s saying something. I have to admit though, the CGI that makes Jeff Bridges young look jarring, but that is overshadowed by the compelling, groundbreaking special/visual effects that really bring you into the cybernetic world. Who doesn’t want to take a ride on one of those fantastic, futuristic vehicles? Who doesn’t want those awesome light-cycles or one of those dueling/data discs? It is possible that, like “Avatar” a year ago, this film can be a game-changer for special/visual effects alone.

It’s a real treat for the eyes, and it’s even better in 3D which is splendidly used to flesh out the dimensions and graphics of the cyber world bring you even deeper into the world instead of things merely flying out to you and post-production conversion like in SO many 3D movies (Note that in the 3D version, there’s a disclaimer before the film starts, saying that parts of the film are filmed in both natural 2D and 3D as they way they should be. Just so you know, this shows that the filmmakers care for what they want to give you).

Very ambitious architect-and-designer-turned-first-time-filmmaker Joseph Kosinski hit a home run with this film, crafting an extraordinary and spellbinding world of escapism that looks slick, stylish and extremely cool to watch. Kosinski and the production team fill the cyber world with heaps of imagination and the result is what you see on screen. And here I thought Hollywood would recycle certain design patterns (plot patterns still need work though). Kosinski is a truly visionary filmmaker that one really has to keep an eye on.

The production design is on par with the special effects, it is nothing short of spectacular and perfect. The cinematography which is big and wide and best of all NOT shaky allows you to savor every moment of SFX goodness. The superb sound effects serve to complement the visuals and the electronic world, and all for the better. Daft Punk’s varying but atmospheric electronic/orchestral score all but suits the film’s mood perfectly with its techno beats and soaring string during moments.

Overall, this is perhaps a fine way to end the blockbuster season of 2010, and this is a definite must watch for all looking for an escape. The special effects alone are worth the price of TWO movie tickets, and with that I say, give this one a try, even if you haven’t seen the first one. It aims to entertain and to dazzle the audience, and it succeeds brilliantly. Excuse me while I rent the first one now.

Overall rating: 75/100

I’ve been waiting 28 years for that….
And it was worth it.

I was 9 years old when I saw TRON in a dingy cinema in Fareham, I was hooked then, and I always dreamed they would make a sequel.

I was seriously worried though, I mean, Escape from New York was another of my favourite movies and I got all excited about the sequel to that… and left the cinema mortified…

Not this time.

This was like an old friend coming home.

There are a lot of comments about this movie having a poor story, personally, I disagree. It was a father and son story, any more on top of the other sub plots going on would have been too much.

It’s a hell of an experience for the sences… when those Recognizers flew overhead the cinema shook… immersive, entertaining… everything a good movie should be.

Roll on Number 3.

Other Information:

Original Language en
Runtime 2 hr 5 min (125 min)
Budget 170000000
Revenue 400062763
Status Released
Rated PG
Genre Action, Adventure, Sci-Fi
Director Joseph Kosinski
Writer Edward Kitsis, Adam Horowitz, Brian Klugman
Actors Jeff Bridges, Garrett Hedlund, Olivia Wilde
Country United States
Awards Nominated for 1 Oscar. 10 wins & 51 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix DTS, Dolby Digital, SDDS, Dolby Surround 7.1, Sonics-DDP
Aspect Ratio 1.78 : 1 (70mm IMAX – some scenes), 1.90 : 1 (Digital IMAX – some scenes), 2.39 : 1
Camera Phantom HD Camera, Zeiss Master Prime Lenses, Sony CineAlta F35, Zeiss Master Prime Lenses
Laboratory DeLuxe, Hollywood (CA), USA (color), DeLuxe, Hollywood (CA), USA (domestic prints), Laser Pacific Media Corporation, Los Angeles (CA), USA (digital intermediate), Technicolor, Hollywood (CA), USA (international prints)
Film Length 3.45 m (Portugal, 35 mm)
Negative Format Digital, HDCAM
Cinematographic Process Digital Intermediate (2K) (master format), Fusion Camera (dual-strip 3-D), HDCAM SR (1080p/24) (source format)
Printed Film Format 35 mm (anamorphic) (Kodak Vision 2383), 70 mm (horizontal) (IMAX DMR blow-up) (dual-strip 3-D) (Kodak Vision 2383), D-Cinema (also 3-D version)