A lovely time capsule of a neon blue era. The first time I watched this film, I was around 9 years old. I rented it from a library and watched it at a friends house, and being honest, it's somehow exactly how I remembered it. It's quite surreal, having a plot take place inside a computer and it's clear there are places where it's being pulled out of nowhere, using computer buzz words like 'ram' and 'programs' to be cool and fit into the universe, which kinda adds to the weird charm of the film.
I cannot tell whether it takes its self seriously or not at all because there are places where it tries to pull at your heart strings or create a serious moment but there are other moments where you just zone out from some of the imagery on screen.
Major credit to Jeff bridges who just seems like he's having a whale of a time. He and the bad guy carry this film by fully embracing this idea and doing the best job they can, although it's clear they have no idea what's going on and that's just brilliant to me.
The main thing I love about this film is the visuals. They are straight out of a tame impala album cover. I can't tell if it's matte paintings or early digital imaging but either way it looks like it was intedned to; it's so dated to the point where it's come back around and looks impressive.
I need to see how they did all this stuff in the early 80s, must have blown people's minds. Although, they never really explain things though. I kinda could maybe tell what was going on because I've seen the film already but half the things they just don't explain, which did get confusing in places.
But generally this films more a delightful time capsule for an era on the dawn of computer special effects, and for that I really liked it. Details Edit. Release date July 9, United States. United States. Box office Edit. Technical specs Edit. Runtime 1 hour 36 minutes. Related news. Jan 4 HollywoodOutbreak.
Dec 31 Rollingstone. Contribute to this page Suggest an edit or add missing content. Top Gap. See more gaps Learn more about contributing. Edit page. Hollywood Icons, Then and Now. See the gallery. Watch the video. Recently viewed Please enable browser cookies to use this feature. Click to see full answer. Similarly one may ask, why is Tron called rinzler? Originally known as Tron , Rinzler's identity came into being when Tron was "repurposed" by Clu. In TRON : Uprising, Tron was forced to adopt the name and appearance of Rinzler after his battle with Clu, using the disguise to avoid capture as most programs believed that he was dead.
Beside above, is Tron dead in Tron Legacy? The last thing we see in Legacy is his original "Illumination" turning on. My interpretation is that the remainder or "Rinzler" died , while Tron finally fully "awoke". The implication of that slogan and teaser seems to be Kevin Flynn survived merging with Clu, and that in turn might include the Grid and Tron. When talented computer engineer Kevin Flynn Jeff Bridges finds out that Ed Dillinger David Warner , an executive at his company, has been stealing his work, he tries to hack into the system.
However, Flynn is transported into the digital world, where he has to face off against Dillinger's computerized likeness, Sark, and the imposing Master Control Program. Why is the movie called Tron when it's not really about him? Tron , like CLU, was a program created to maintain the system. In the first film , Tron was the security program. When Flynn initially left the grid at the end of the original, the audience assumes Tron would be the new guardian of order.
What was the name of the bad guy in Tron? Each Program receives an identity disc that stores their actions and experiences, and also doubles as a powerful weapon. On their way back to the holding pen, Flynn sees Tron fighting a number of other Programs, and Ram tells him that Tron fights for the Users.
Before he can return to the holding pit, Flynn is taken to his first game. The game is essentially a vertical version of Jai Alai, except that the players stand on platforms made up of concentric rings that disappear when the ball hits them, forcing them to jump over the gaps. Flynn is forced to face Crom , "one of his own kind" according to Sark. After several volleys, Crom falls off his platform and struggles to climb back up. When Flynn refuses to finish off his opponent, Sark terminates the game and sends Crom plummeting to his death.
However, he spares Flynn, recalling the MCP's admonition: "I want him in the games until he dies playing. Flynn returns to a holding area where Ram and Tron are waiting for him. Flynn immediately mistakes Tron for Alan, and Tron reveals that Alan is his user. Feigning disorientation, Flynn says that he's starting to remember "all kinds of stuff", including that his user wants him to take out the MCP.
Tron states that that is his goal as well, but before they can talk much more, the three are taken to the light cycle arena. In here, the three must attempt to guide their opponents into their trails. They team up and manage to force one of their enemies into the side of the arena, opening a large crack in the wall through which they escape.
Sark quickly launches his security forces which consist of Flynn's Tank and Recognizer programs to seek them out. Flynn takes the injured Ram to a pile of junk, which turns out to be a damaged Recognizer.
Ram asks Flynn if he is a User, which Flynn replies positively. Ram then asks Flynn to help Tron just before he dies and derezzes. Meanwhile, Tron breaks into a simulation chamber where a Solar Sailer is being constructed.
There, he finds Yori, a program written by Lora. He grants Tron access to the port, and Tron receives the critical instructions he needs from Alan in order to destroy the Master Control Program. Along the way, Flynn rejoins them, having accidentally disguised himself as one of Sark's troops.
He explains to Tron and Yori at this point that he is actually a User. Sark eventually captures Flynn and Yori, ramming the Solar Sailer with his ship. Sark then disembarks and begins derezzing the ship. Although Yori and the ship begin to fade away around him, Flynn manages to keep her alive and the ship intact.
Yori believes Tron to be derezzed, but in reality, Tron has escaped on Sark's shuttle, which lands nearby the MCP's core. Here, a number of captured programs, including Dumont, are locked against a wall to face the MCP, which appears as a giant red face on a huge spinning cylinder. The MCP senses Tron's presence and sends Sark out to battle him, and then the MCP begins to tell the programs of their impending fate: "You will each become a part of me, and together, we will be complete.
Sark and Tron battle on the mesa, until Tron gains the upper hand, severely damaging Sark and destroying his disc. Tron begins to attack the MCP directly, attempting to break through the shield protecting its core.
As the battle continues, Yori guides the remains of Sark's ship toward the core, where Flynn jumps inside. The digital world comes alive after the MCP's defeat. They ponder Flynn's fate, but Flynn is sent back to the real world, the laser re-materializing him at the terminal.
A nearby printer then begins printing the evidence that Flynn's programs were "annexed" by Dillinger. Dillinger arrives at the office the next morning to discover a message on his computer's screen showing the evidence of his wrongdoing, and it can be implied that the evidence has been sent to every computer at ENCOM, and sometime that day Dillinger will be either fired or arrested.
Flynn is now the chief executive of the company. He was immediately fascinated by them and wanted to do a film incorporating them. According to Lisberger, "I realized that there were these techniques that would be very suitable for bringing video games and computer visuals to the screen.
And that was the moment that the whole concept flashed across my mind. Originally, the film was conceived to be predominantly an animated film with live-action sequences acting as book ends.
The rest would involve a combination of computer generated visuals and back-lit animation. Lisberger planned to finance the movie independently by approaching several computer companies but had little success.
However, one company, Information International Inc. He met with Richard Taylor, a representative, and they began talking about using live-action photography with back-lit animation in such a way that it could be integrated with computer graphics. At this point, Lisberger already had a script written and the film entirely storyboarded with some computer animation tests completed.
Lisberger and Kushner decided to take the idea to Disney who were interested in producing more daring productions at the time. The studio agreed to finance a test reel which involved a frisbee champion throwing a rough prototype of the discs used in the film.
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