The programs aren’t even sure if the users are real. Programs are created in the image of their users, but a seemingly impenetrable barrier exists between them. A streak of Christian theology runs through Tron. It reexamines the basic assumptions of the original and changes how you look at it. The sequel isn’t just using new technology to tell the same story all over again. The main character is trapped inside the Grid by a renegade program on a power trip of cosmic proportions. But some of the set pieces (electronic gladiators flinging laser discs at each other in a virtual coliseum and racing holographic motorcycles on ribbons of light) are still jaw-dropping spectacles.īoth movies have the same basic plot structure. Not everything in Tron: Legacy holds up a decade later, either, particularly a CGI version of a young Bridges that looks like someone took acid en route to the uncanny valley. John Lasseter, the cofounder of Pixar, has said that Toy Story wouldn’t exist without it. Tron looks dated now, but it was a pioneer in its time. The Tron movies are best remembered for their effects.
It’s just a vehicle to stick characters into video games à la Jumanji and show off the latest and greatest in computer technology. Don’t ask too many questions about how it all works. Their virtual world (known as the Grid) is connected to our world by a laser that digitizes people and a portal that converts them back. The premise is that computer programs are sentient beings and microchips are cities. The Tron Cinematic Universe isn’t really supposed to make sense. Daft Punk, which penned the soundtrack, has a cameo as the house DJs. Michael Sheen leans into the bit even further in a scenery-chewing role as a shadowy nightclub owner who channels David Bowie. Jeff Bridges reprises and reinvents his character, turning Kevin Flynn from a headstrong and ambitious hacker into a wise old sage who “knocks on the sky and listens to the sound” and warns his son about “messing with my Zen thing.” He’s part Steve Jobs, part The Dude from The Big Lebowski. Part of the movie’s genius is that it doesn’t take itself too seriously.
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