Tag Archives: tron

TRON: Legacy (2010)

Note: This film was the main topic of discussion on Episode 1 of my podcast, The Cinescope Podcast. Give it a listen for a more in-depth discussion!

Tron-Legacy-movie-image-new-collider

Back in 1982, Disney released a film that proved to leave a lasting impact in the world of film, making strides in advanced computer graphics technology and laser trail bikes. One of the more notable effects this film had in the industry was showing John Lasseter the possibilities of computer graphics and leading to the eventual success of Pixar. Nearly 30 years after the release of TRON, first-time director Joseph Kosinski was hired to direct the almost $200 million sequel to the dated film, challenged with continuing the story and dazzling with another technological marvel…and he succeeded.

TRON: Legacy opens with young ENCOM CEO Kevin Flynn (Jeff Bridges) explaining to his son Sam the origin of The Grid – a “digital frontier” that resembles a city, a place where programs are anthropomorphized and live their own lives, and where Tron, a protector, and a clone of Flynn called C.L.U. – Codified Likeness Utility  – work together to create and to explore this digital landscape. However, later that night, Flynn disappears from the world without a trace. 20 years pass, and now Sam (Garrett Hedlund), who has distanced himself from his father’s company save for an annual prank, has received a tip from his father’s friend Alan Bradley (Bruce Boxleitner) that something may be going on in his father’s office at the now-abandoned arcade that he owned. Upon investigating, something extraordinary happens, thrusting him into the very world that his father described to him as a boy. It becomes a race against time to escape back to the real world, with new faces Quorra (Olivia Wilde) and Castor (Michael Sheen) showing up along the way during Sam’s journey home.

*mild spoilers ahead*

To get it out of the way, I’ll start with the obvious: this film is quite the spectacle to behold, from the glowing blue skyscrapers, to the intimidating flying Recognizers (appearing as a significant upgrade from their original appearance 30 years ago), to the fantastic score composed by Daft Punk and Joseph Trapanese (my review). These are the things that people agree on regarding this film: that it is a visual and auditory treat, showing that every cent of the $200 million budget was put to good use. Concepts introduced in the first film – disc wars, light cycle races, a world that pulses with a vivid energy – are magnified to the nth degree here and, paired with Daft Punk’s infectious music, provide some of the more extravagant action sequences made with digital effects in the last decade. In this movie and in his second feature, Oblivion (my review), director Joseph Kosinski proves he has an talent for creating visuals that are wonders to behold

What people agree on less when it comes to this movie is everything outside of what appeals to the senses: that is, to put it simply, the story and acting. But I would disagree with the majority in saying that there are some great, moving performances that feature here.

At its core, TRON: Legacy is a father/son movie. Garrett Hedlund’s Sam exudes a confidence that masks his vulnerability; after all, this is a character who lost his father when he was 7 years old, and as the film goes on, it is revealed how much he misses him. In a scene where Alan tells Sam of a mysterious message he received from Flynn’s former office, Hedlund’s face expresses so well the pain he feels in wishing that his father was around but knowing that he’s gone forever. Likewise, Jeff Bridges as Kevin Flynn portrays a father who is willing to sacrifice anything for the protection and well-being of his son. In their heartfelt reunion, it’s difficult to not feel a pang when Flynn turns around to instantly recognize his son who was only a child the last time he saw him, collapsing into his arms in a deep embrace. It’s a powerful moment. As the film progresses, so does their relationship, and though they face some tough moments, they prove that they’re there for each other and, more importantly, that they love each other.

Most of the emotional core of this movie comes from those two characters, but I’d be remiss if I didn’t mention Jeff Bridges’ other character, C.L.U., who is our villain. As mentioned before, he is essentially a clone of Flynn, and as such he represents Flynn’s flaws at the time of his inception, namely an inability to recognize that perfection is not an attainable goal. It’s this flaw that helps us to empathize with the character – he’s only doing what he feels is right because it’s what he was created to do, even if it’s contrary to what Flynn himself came to realize as he aged and matured. Despite the motion capture work that doesn’t age quite as well as the rest of the effects in the film, Bridges communicates this conflict very well, culminating in the final bridge scene that shows C.L.U.’s desperation to fulfill his purpose.

It would be a shame if I didn’t give a shoutout to Olivia Wilde’s wonderfully naïve Quorra, who represents the childlike wonder in all of us. One scene has her asking for the description of the sun because she’s never had the chance to experience it, and this pays off in the end of the film when we see her basking in the glow of a warm sunrise. Worth mentioning is Michael Sheen’s quirky Castor, who does little more than strut around talking strangely, but he’s a fun character who appears during one of the film’s dry spells to further along the plot.

TRON: Legacy isn’t a masterpiece of a film that delves into the human condition or anything “deep” like that, but it does have characters whose interactions with each other give us something to connect with. The concept of The Grid and the activities that lie therein are fascinating to me – the very concept of the world is *concept* itself – and the execution of these are what pushes this film into the realm of “enjoyable” for me. While the main attractions certainly are these spectacles and the outstanding soundtrack, if you look for it, there are some great human moments that might make you feel something along the way.

-Chad

RECOMMEND!

MPAA: PG – for sequences of sci-fi action violence and brief mild language

Advertisements

Oblivion (2013) – M83

In 2010, electronic music group Daft Punk collaborated with Joseph Trapanese on the score for director Joseph Kosinski’s first directorial effort, TRON: Legacy. This year, Trapanese is back with a new collaboration for a Kosinski film, this time with Anthony Gonzalez of M83. Like the score to TRON: Legacy (my review), the focus is on a more electronic sound mixed with traditional orchestration, and the result is quite satisfactory.

 The second track of the album, “Waking Up,” perfectly communicates the grandeur of the film, albeit an empty grandeur, if that makes sense. In fact, much of this score gives us a glimpse into the largeness of the world and the hugely epic moments, such as in “Drone Attack” and “Canyon Battle.” Tracks like “Losing Control” are a bit more muted, but the anxious undertones of low strings and electronic pulse with the overlaying high strings become more and more aggressive before being joined by the brass in a dramatic sort of fanfare that seems to emulate all of Jack Harper’s questions and doubts as he struggles to find his place in this world. “Radiation Zone” is incredibly dissonant and becomes more and more agitated, representing the conflict Jack faces in crossing into the radiation zone and the surprises he encounters there.

One thing I liked about this film, though, was its ability to move effortlessly from big, majestic sets and action scenes to the more intimate moments of contemplation and searching for answers, which the score does great as well. The opening track of the album, “Jack’s Dream,” sounds appropriately ethereal, representing the fuzziness of Jack’s “memories,” and “Horatius,” is filled with a constant pulse that drives it forward, but the quieter nature of the track fuels Harper’s question-asking. The following track, “StarWaves,” is much more personal, acting as background music to a scene between Jack and Victoria in the swimming pool. One of the final tracks on the album, “Undimmed By Time, Unbound By Death,” seems to almost be a reference to the title track from Chariots of Fire, composed by Vangelis; both tracks feature an electronic opening before transitioning into a piano-based theme, though the Oblivion track is decidedly more muted (and less likely to be the go-to song for clips of people running).

Those of you who have read my previous soundtrack reviews know that one thing I always harp on is composers who reuse themes from their previous film scores. While Daft Punk and M83 were credited as the main composers for TRON: Legacy and Oblivion, respectively, Joseph Trapanese had a hand in both compositions, and you can hear some similarities between the two. Thankfully, though, nothing is blatant enough to point out, with the fact that TRON: Legacy‘s score is a bit more electronic-based and Oblivion‘s is more orchestra-based, effectively distancing the two to make them stand out on their own merits.

A film score’s goal is to make the film it accompanies even better and to enhance the emotions and action shown on screen; for the most part, the score to Oblivion does its job. There were one or two instances while watching the film when I thought that the music could have taken a little bit more of a backseat to the visuals and dialogue, but those thoughts never lasted long because of how fun the music is. The bonus goal of a film score is to be entertaining when listened to outside of the film, and there’s no doubt that Gonzales and Trapanese have accomplished that here as well. M83’s score to Oblivion manages to continue the recent positive trend of famous music groups composing for films in a great way.

Note: I purchased the Deluxe Edition of the album on iTunes. For only $3 more, you get more than 45 additional minutes of music. Completely worth it!

Rating: 4 (out of 5)

1. “Jack’s Dream”     1:30
2. “Waking Up”     4:18
3. “Supercell”     4:19
4. “Tech 49”     6:01
5. “The Library”     3:27
6. “Horatius”     2:31
7. “StarWaves”     3:41
8. “Hydrorig”     2:23
9. “Crater Lake”     1:28
10. “Unidentified Object”     2:32
11. “Odyssey Rescue”     4:12
12. “Return from Delta”     2:22
13. “Retrieval”     6:48
14. “Earth 2077”     2:23
15. “Revelations”     1:43
16. “Drone Attack”     3:26
17. “Return to Empire State”     6:41
18. “Losing Control”     3:57
19. “Canyon Battle”     5:58
20. “Radiation Zone”     4:12
21. “You Can’t Save Her”     4:59
22. “Welcome Back”     1:47
23. “Raven Rock”     4:35
24. “Knife Fight In a Phone Booth”     4:39
25. “I’m Sending You Away”     5:40
26. “Ashes of Our Fathers”     3:32
27. “Temples of Our Gods”     3:16
28. “Fearful Odds”     3:11
29. “Undimmed By Time, Unbound By Death”     2:27
30. “Oblivion (feat. Susanne Sundfør)”     5:57

Total Length: app. 114 min.

iTunes Album Link

-Chad

P.S. – Read my review of this film here!


Oblivion (2013)

Joseph Kosinski’s first directorial effort was 2010’s TRON: Legacy, a film that, despite how much I enjoyed it, was only decent. His second directorial effort, as well as his first to write and produce, is Oblivion, which, due to my enjoyment of TRON: Legacy, I was actually looking forward to quite a bit, especially since I have been enlightened to the acting talent of Tom Cruise in the last year. I listened to the soundtrack for the film by M83 and Joseph Trapanese for a full week and a half in anticipation. I must admit that I still only expected this to be a decent film, but, thankfully, this was a rare instance in which my expectations were exceeded.

Oblivion tells the story of Jack Harper (Cruise) and his partner Victoria (Andrea Riseborough) as they live on a post-apocalyptic Earth. We are told that aliens invaded sixty years prior to the events of the film, but the humans won in nuclear war, leaving the Earth ravaged and forcing the humans to evacuate to Titan, one of Saturn’s moons. Jack is a repair technician who repairs drones that protect hydrorigs, which are sucking up Earth’s water to transport to Saturn, acting on orders rather than memory; he was forced to have his mind wiped fifteen years previously, though he still has vague recollections of a past that he doesn’t remember. He collects books that he finds and imagines what the world was like before all of this, but his partner is content to follow orders – two more weeks until the two of them get to join the rest of the human population on Titan. But when a space module crash lands and Jack pulls a survivor (Olga Kurylenko) from the wreckage before the “scavs” (remaining aliens from the war who sabotage the drones and hydrorigs) can get to her, he asks more questions than ever, throwing his and Victoria’s world into even further disarray.

Sound complicated? It is, a bit, but I never found the film’s complexities to be a burden. In fact, I sat on the edge of my seat the whole time, eagerly asking myself, “What’s going to happen next? How are they going to resolve this? Why did that just happen? What does this mean?” Cruise is the obvious highlight of this film, bringing his usual talent for action along with appropriate drama and a refreshing humanity that we don’t always see from him. Andrea Riseborough as Victoria, Harper’s partner and lover, gives a powerfully emotional performance as the sort of voice of reason, the one who is only interested in doing what she’s told rather than asking questions. Morgan Freeman’s brief but incredibly important role as Malcolm Beech, leader of an underground resistance, plays into Freeman’s typical “father figure” sort of role, but it doesn’t feel canned, and Olga Kurylenko as Julia, the survivor from the space module, gives a decent performance as well.

The story is somewhat reminiscent of Pixar’s Wall•E, though I won’t explain all the similarities here lest I spoil the film for you. The themes of asking questions/searching for answers and thirsting for knowledge vs. the fear of knowledge are powerful and well-represented here, with symbolism running rampant. For example, Jack Harper has a secret cabin on a plot of green earth near a pond that he found; this is where he stores the books that he finds, from medical dictionaries to Horatius to A Tale of Two Cities. This area is the obvious representation of the previously mentioned thirst for knowledge. There is also one moment where Harper presents Victoria with a can containing a flower that he has cared for, but she promptly tosses it out the window, citing regulation and contamination (there’s an obvious Wall•E parallel), which is representative of her fear of knowledge.

Ever since I walked out of the theater, I’ve been debating what rating to give this film. I knew it was at least a 4/5, though I thought it could easily be a 4.5 as well. I wanted to give it 5/5, though I know it’s certainly not a perfect movie. However, given my enjoyment of it, I think that a 5 is a perfectly reasonable rating; it’s got a smart script, a capable and talented cast, an appropriate score by M83 (assisted by Joseph Trapanese), and it asks questions that we can all learn from. Despite its flaws, Oblivion is a fantastic film, proving that 1) Cruise is not only a wonderful action star but also a capable dramatic actor and that 2) Kosinksi has a lot of future potential as a great film director.

-Chad

Rating: 5 (out of 5)

MPAA: PG-13 – for sci-fi action violence, brief strong language, and some sensuality/nudity

P.S. – Read my review of this film’s score, composed by M83, here!


TRON: Legacy (2010) – Daft Punk

I think that the high quality of Daft Punk’s score for TRON: Legacy was unexpected for most people, but, in retrospect, it makes perfect sense: get a musical duo famous for their electronic music to compose the score to a film whose setting takes place primarily in an electronic world.

And it’s the electronic music featured in this score that makes it so great. From the Vangelis-esque “Overture” to the infectious club groove “End of Line” (the title a reference to the original TRON film) to the aggressive “Disc Wars”, Daft Punk has managed to create a score that works well as both a companion to the film it was written for and as a standalone work of art. However, there is plenty of traditional film music – that is to say, orchestral rather than electronic – that is just as good, such as in the tracks “Recognizer”, which sort of emulates the feel of electronic music, the beautiful “Nocturne”, and “Finale”, which features some excellent brass as well as some soaring strings.

While it’s not the greatest film score of all time, it’s definitely one of the better scores composed by a musical group not known for its film scores. Daft Punk’s music for TRON: Legacy fits the setting tremendously well, enhancing the crisp visuals with an exciting soundtrack that combines traditional film scoring with newer ideas to create something unique and satisfying.

Rating: 4 (out of 5)

1. “Overture” 2:28
2. “The Grid” 1:37
3. “The Son of Flynn” 1:35
4. “Recognizer” 2:38
5. “Armory” 2:03
6. “Arena” 1:33
7. “Rinzler” 2:18
8. “The Game Has Changed” 3:25
9. “Outlands” 2:42
10. “Adagio for Tron” 4:11
11. “Nocturne” 1:42
12. “End of Line” 2:36
13. “Derezzed” 1:44
14. “Fall” 1:23
15. “Solar Sailer” 2:42
16. “Rectifier” 2:14
17. “Disc Wars” 4:11
18. “C.L.U.” 4:39
19. “Arrival” 2:00
20. “Flynn Lives” 3:22
21. “Tron Legacy (End Titles)” 3:18
22. “Finale” 4:23

Total Length: app. 59 min.

iTunes Album Link

-Chad