The original Tron has the distinction of being among the first three films I remember seeing in the theater as a kid and not coming away overly in love with. As a 9-year old I knew that for all the snazzy 1982 visuals it wasn't a great film. The other two were The Black Hole and Clash of the Titans.

Buoyed by their effects and respective mythologies, Tron and Titans went on to become cult classics, while The Black Hole has become a flick that's been mostly forgotten.

Time and home video has had away of being very kind to imperfect movies, especially imperfect movies with untapped potential. As a film set entirely in the world of computers Tron was loaded with it. Corporate espionage and intellectual property disputes*, sentient programs exhibiting--and some struggling with--free will, an underlying religious allegory, it's a movie that presaged concepts large, ala the internet, and small, aka avatars. With shows like Battlestar Galactica proving you can take a cult property rich with ideas and give it not only a new life, but a makeover that mines those ideas much deeper than most thought possible, an update of Tron wasn't a wholly bad idea.

Using the original as a jumping off point, Tron: Legacy picks up the story seven years later in 1989. After proving that his code was stolen by a rival, and consequently becoming CEO, Flynn (Jeff Bridges) has elevated Encom to an unprecedented level of success. The company is not only the Microsoft of its universe, under his leadership it's also become the Apple of its time.

In secret, Flynn has been exploring and developing radical ideas like quantum teleportation and digital dna that he believes will revolutionize everything from medicine to religion. With his best friend Alan Bradley (Bruce Boxleitner) he's only shared vague snippets of what he's found. And with his son Sam, he's told him bedtime tales about a place called The Grid, a world he's created with the help of two programs named Tron and Clu. A place Flynn hopes to one day show Sam himself. However, the night he tells Sam about The Grid is the same night he disappears**.

Twenty years later, without a word about what happened to his father, Sam (Garrett Hedlund) has grownup to despise the company his father built. Every year he pulls a major prank on Encom. His latest, breaking into the company's servers and releasing its new operating system to the internet just minutes before the official release and the company's simultaneous debut on the Tokyo stock exchange.

After being released from jail, Alan shows up to gently chide the now 27-year old Sam about his latest venture in undermining the very company that affords him the luxury of Ducati motorcycles and spectacular waterfront views of the city. And as Alan puts it, for someone who claims to have no interest in Encom, as much thought and planning that must go into his pranks, Sam has a funny way of showing that disinterest.

However, the real reason for Alan's visit is that he got a page--yes, on an honest to goodness pager--from the old arcade Flynn owned and has lain abandoned, and curiously powered and still full of videogames, for decades. Although sarcastically dismissive about a possible late in the game reunion with pops, Sam heads straight for the vacant building to investigate. And thus begins how Sam discovers that The Grid does indeed exist, and more importantly, where his father has been for the past two decades.

As a story about a rogue program wanting to crossover into the physical world, Tron: Legacy isn't a train wreck. And unlike its predecessor it's at times a bit more involving. Especially in a few of the action scenes. The filmmakers have taken advantage of the advances in special effects to amp up the lightcycles and to take them out of moving in two dimensions into three, making for some dazzling set pieces. The disc games, unfortunately, aren't quite as well thought out though and never really become all that thrilling.

Overall, Legacy has a few glaring plot holes and a jumble of underdeveloped motivations. Why lure someone into The Grid if you're not going to post someone where they can see when said someone arrives? Or, why put that same someone in dangerous potentially life-ending scenarios if that someone's presence is meant to be a "game changer"? Why introduce the concept of genocide, only to relegate it to mere exposition, and for its consequences to not have any active*** influence on the story? And if you can't get out of The Grid, how can you communicate with anyone outside of The Grid****?

Even more so than Tron, Tron: Legacy is overflowing with unexplored concepts that could have expanded the mythos in a myriad of directions. The film's major flaw is that it's really Flynn's story that has the most meat on it, not Sam's.

As a man who first loses his son to create a new digital frontier and then loses that world when he's betrayed by one of his own creations. As a man who has watched his breakthrough discoveries become the key to possibly destroying a world he hasn't seen in twenty years, Flynn is a tragic hero whose journey is instantly more intriguing than that of a 27-year old whose adventure starts only because he happened to unintentionally stumble down a digital rabbit hole. Plus, as it's demonstrated in the last half of the film, building a story around Flynn's inability to bring order back to the very universe he's created, even though he has god like mastery over The Grid, could have elevated Legacy from being a standard sci-fi action flick into a epic quest for redemption.

The film's second major flaw is in featuring some of the most underwhelming secondary characters to grace a big budget action film in quite sometime.

Rinzler, a dual disc wielding grid warrior, is meant to be a badass. Yet he gets not enough to do, and instead, the filmmakers decide that giving an inordinate amount of screentime to a sniveling suckup is a better way to go--hello, if you're going to make Rinzler your Darth Vader, he shouldn't be playing guard dog.

Olivia Wilde's Quorra, the young woman who consistently saves Sam's ass, isn't entirely irrelevant to the overall proceedings. And considering she's lived her entire life on The Grid, Quorra's wide-eyed innocence and naivety are in and of themselves not bad traits. However, it's getting pretty tiresome watching the girls ably illustrate their ability to kickass in action flicks, yet to only do that in service of the boys at every turn. It's most disappointing when you realize that Sam's only real claim is that Encom, and by extension The Grid, are his by birthright, not by anything he's actually done. In fact, if you consider Quorra's backstory, you'll realize that of everyone in the picture, as someone who has lost as much, if not more than Flynn, she not only should be more driven than Sam, she has more right to The Grid than he does.

Lest you think I'm only here to beat up on this film, let me point out a few more things that do standout. Bridges as Flynn is a highlight. His Flynn is not only fun to watch, he capably makes lines like "it's bio-digital jazz man" seem natural and in context logical. Some of the production design, such as Flynn's home Off Grid pops. And Michael Sheen as night club owner Castor, brings a campy maniacal energy.

As a film, Tron: Legacy isn't a total embarrassment. And compared to several other big budget, effects heavy releases of the last few years it's one of the more coherently told and even better acted flicks. As the continuation of a franchise it doesn't build on the original in any significant fashion, and much as it was with the first go round, nor do the filmmakers do enough to make all the proceedings add up to anything more than a so-so story, decently told.

* Most won't remember, but early in the life of the PC there were some real questions about how to legally, and ethically, treat copyright and intellectual property when programs could be easily copied and several programmers could bring differing levels of contributions to one project. Sounds a bit familiar doesn't it?

**Isn't that how it always happens in films? it's a wonder anyone would gamble telling other folks about the fantastical realms they visit, lest they also become metaphorical fodder for milk cartons.

***I know someone will argue that it does have some bearing on the story, however, go back and watch the film. It's just a lazy way to make a character more important, and setup possibilities for a sequel, without actually giving that character much to do.

****Curious since communication between programs and users is an integral part of the original film.


Being the 50th animated feature in the Mouse House's storied and unmatched run should be pressure enough. However, coming after the very good yet only partially satisfying The Princess and the Frog, the first film in Disney's revived and refocused animated unit under Pixar's John Lasseter, the expectations for Tangled were never going to be higher.

Would Tangled finally be the film that would recapture the magic that resulted in films like Beauty and the Beast and The Lion King? Or would it would be a sign that maybe Disney, even under Lasseter, was a long way from its former glory days?

Featuring possibly Disney's most relatable Princess, one of the strongest cast of secondary Disney characters in years, and the studios most naunced villain, Tangled is definitely the former.

In this re-imaging of the classic German fairytale, Rapunzel's mother the queen, while pregnant with Rapunzel, falls deathly ill and only a legendary flower that grew from a drop of sunlight can save her. However, this same plant has been keeping the elderly Gothel eternally young. Unfortunately for Gothel, it's hard to hide even a single magical flower when an entire kingdom is searching for it.

Reduced to an elixer and given to the queen, the plant's powers are transfered to Rapunzel, resulting in a golden mane of hair that can never be cut lest she loses the ability to heal others forever. Unwilling to give up her own personal fountain of youth, Gothel kidnaps the baby Rapunzel, and as it is in the original fairytale, hides her in a tower.  And for 17 years the child grows up believing that Gothel is her real mother.

On the verge of her 18th year, having never been outside, having never even set foot on terra firma, all Rapunzel wants to do is to see the strange, beautiful floating lights that appear in the sky every year on her birthday. Unbeknownst to Rapunzel, those lights are the kingdom mourning her disappearance.

But Mother Gothel, as she's now known, has convinced the young girl that the outside world is so dangerous, full of thugs with "sharp teeth" as Mother Gothel describes it, Rapunzel reluctantly resigns herself to a obeying her "Mother" and will remain in the tower. That is until the thief Flynn Rider appears.

With the strategic use of a frying pan and leveraging Flynn's overwhelming desire to get back the crown he's stolen, and Rapunzel has hidden, the young girl convinces the rogue to be her guide. He's to take her and Pascal, her pet chameleon, to see the lights with the goal of returning home long before Mother Gothel realizes she ever left.

From keeping Rapunzel dependent on her, to telling Rapunzel that she's getting chubby, Mother Gothel really is one bad mama. Channeling Mommie Dearest, her emotional manipulation of Rapunzel catapults Mother Gothel into the top 5 of all time cruel and truly evil Disney Villains.

When Rapunzel schizophrenically alternates between exhilaration at being outside for the first time and guilt for disobeying her mother, it's a humorous moment that even children from happy homes will recognize. Anyone who has broken a few of their parents rules to get just a little taste of freedom will flashback to the first time they made their own "escape".

As Rapunzel, Mandy Moore not only exudes quite a bit of vulnerability and strength, she creates a character that girls at six, twelve and eighteen will be able to identify with. A rare feat.

Although he's been upgraded to a full fledged spy for the past two seasons on NBC's Chuck, Zachery Levi isn't exactly the name that comes to mind when you use the word suave. If his Flynn Ryder is an indication of what he can do, than Levi seriously needs to consider finding a few more properties that allow him to better showcase his full range of leading man chops.

And Mother Gothel? Like Moore, Donna Murphy creates a character who not only could exist, she unfortunately does for too many. Murphy's rendering of Mother Gothel results in a vain, egotistical, self-absorbed woman. Yet you always sense she genuinely has some affection for the child she's been exploiting for her own means. Because of Murphy you understand how and why Rapunzel could be so conflicted. It's a shame that voice actors aren't nominated for Best Supporting Actress, because Murphy definitely deserves a nod.

Where Tangled really shines though, involves two characters who have no voice actors. Pascal and Maximus. Disney's secondary characters have always been one its strongest points over the last 70 years. They've left just as much of an impression on the movies they were in as the main characters, and at times, more so. Wisely, Pascal is used to punctuate jokes and isn't a joke himself, and as a foil for Flynn, Maximus, a palace guard horse who shares the same intense tenacity and sense of purpose Tommy Lee Jones's Marshall demonstrated in The Fugitive, adds a sense of fun that using a human wouldn't have.

If Tangled has a few faults it's largest would be the lackluster songs.

The strongest of Alan Menken and Glenn Slater's efforts is possibly Mother Knows Best. Beyond that, one would be hard pressed to pull out any memorable lyrics, or find many hum worthy passages.  Fortuitously aiding them though, is some of the most expressive animation and well thought out comic staging you can bring to an animated feature. It's classic Disney that helps bring songs like When Will My Life Begin and I've Got a Dream, complete with dancing singing Thugs--although none seem to have sharp teeth, vividly alive.

One might be able to find a few more things to nitpick with. However, Tangled is most definitely a true return to form for a studio that has arguably created more classic animated films than any other studio on the least till Pixar releases it's own 50th animated film.