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While she exists mainly as doe-eyed boy bait (mission accomplished) and a love interest for Sam, her character gets a few humorous moments as she discusses her desire to see the outside world.
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Olivia Wilde plays a companion of sorts to Kevin Flynn. Not only is his obnoxious, pointlessly cocky hero genuinely uncharismatic, but Hedlund delivers the kind of bad performance that feels edited around, as if director Joseph Kosinski knew that his central bit of casting was a botch (his line readings and his facial expressions both merit unintentional chuckles). Bridges-as-Flynn can't seem to decide how seriously to take all of this, often doing a slight nod to "The Dude." A big problem comes in the form of Hedlund. He even comes with an emotionally-needy sidekick in the form of James Frain's Jarvis, who serves mainly to explain the machinations without actually offering any information. Clu hems and haws like a 1980s Legion of Doom reject, and the CGI makes Bridges look like a character in one of Robert Zemeckis's motion-capture cartoons. And make no mistake Tron: Legacy is a stunningly dull would-be movie.Įven Jeff Bridges is weirdly off of his game. The apparent absence of any attempt at quality renders even the (only occasionally) pretty pictures impotent and dull.
#Tron legacy 2010 movie movie#
This far, and no further." If we as moviegoers accept this artless, soulless confection as a suitable example of big-budget filmmaking, then we deserve everything we get in the following years. Tron Legacy, as Tron 2 is now title is set for a 2010 release date - 28 years after the first film Released in 1981 the original Tron boasted some ground-breaking special effects involving gladiatorial battles featuring, amongst others, motorbikes set inside a computer making it probably the first virtual reality movie ever. I am reminded of Patrick Stewart's monologue towards the end of Star Trek: First Contact. Just how much bad dialogue, poor acting, inexplicable plotting, and emotionally-vapid characterizations will we accept as long as we've been convinced that the film is "cool"? How little actual content will we demand in exchange for $300 million light shows disguised as motion pictures? We casually accept seemingly intentional mediocrity in our franchise films, from The Flintstones to Transformers: Revenge of the Fallen, holding our nose but making these films into smash hits. Tron: Legacy almost operates as a litmus test for how much we will tolerate in our tent-pole filmmaking.