Tron: Legacy (2010)

Director: Joseph Kosinski

Cast: Garrett Hedlund, Jeff Bridges, Olivia Wilde, Bruce Boxleitner

Have I Seen it Before: Yes. The thing I remember most from seeing this one in the theater is that it was shortly after I bought a used PT Cruiser which I drove for two years, despite the film never working right.

That’s probably a bad sign, right?

Did I Like It: Whereas the original Tron (1982) managed to use the limitations (both then and now) of computer animation to great effect depicting a world that, by its very nature, was never meant to look natural.

That film wasn’t nearly as successful as Disney might have hoped, but became a cult favorite over the years, hence someone somewhere in the Mouse House thinking that a sequel might be warranted, if not urgent. By the time they got things together, something had happened with movies. CGI became ubiquitous, but it didn’t become better enough to have viewers view it through anything other than jaundiced eyes.

With those cards stacked against it, does a Tron sequel have any kind of hope of wowing—if even to the point of becoming only a cult film like its predecessor, to say nothing of capturing the public imagination at the level one probably needs for a movie costing over 100 million?

Maybe, almost… But not quite. The computer realities Sam Flynn (Hedlund, sort of unmemorable) find himself in are not the simple geometries his father dealt with, but instead a myst filled laser-tag arena that fails to feel either clever or believable.

I’m not even willing to give the special effects the benefit of the doubt for depicting artificiality. Clu (Bridges) looks like an animatronic for most of the film, which might be forgiven as he is a computer program, but the same effects work is used to portray Kevin Flynn (also Bridges) in 1989, and that works a fair sight less. That doesn’t even begin to cover that Bridges’ main level of performance as Flynn is to do a warmed-over riff on his work in The Big Lebowski (1998), which feels roughly right, if a little pat.

I will say though, that the film is helpfully titled. This is a legacy sequel through and through, but an imminently average one, at that. It fails to capture the ingenious quality of the original, and seems designed throughout to satisfy a list of elements studio executives would want in a film, fi no one else.

Tron (1982)

Director: Steven Lisberger

Cast: Jeff Bridges, Bruce Boxleitner, David Warner, Cindy Morgan

Have I Seen it Before: Oh, sure. I would imagine that I kind of missed the film at that moment when it really had the ability to burrow into a person and become a part of their personality.

Did I Like It: Aside from the always charming presence of both Bridges and Boxleitner—to say nothing of the always reliable presence of David Warner—the film could really start to smell. How many live action adventure movies from Disney are anything other than the pits? A few Pirates flit through my mind, but one really has to wonder how much those are going to hold up as we’ve generally decided—guilty or not—that we’ve decided we don’t want to hear anything further from Johnny Depp.

The film’s real strengths lie in its simplicity. Lisberger and company looked at the still embryonic technology of Computer-Generated Imagery and realized something that I wish other filmmakers and studios might have kept close to their heart: It looks like crap. Still does, usually.

So, it looks like crap. What do you do with it then? Let it be the backbone of every opening title to a movie of the week? Let it sell tchotchkes in commercials for the rest of eternity? Or is there a story to tell using this tool?

Telling a fantasy adventure story—equal parts The Wizard of Oz (1939) and gladiator films—that takes place in the midst of the computer itself makes the images make the kind of sense that seems obvious but only occasionally happens in the world. Artificiality can work—can save itself from being jarring—if it exists among more artificiality. It was the first time they were able to do that, and for my money, it might be the last.

Starman (1984)

Director: John Carpenter

Cast: Jeff Bridges, Karen Allen, Charles Martin Smith, Richard Jaeckel

Have I Seen it Before: Oh, sure.

Did I Like It: First of all, I’m just going to say this part simply and quickly. Any movie where the antagonist has a complete change of heart and helps the heroes escape after getting a dressing down from his superiors for being “a GS-11.” I like that a lot. I had forgotten about it. Even if this hadn’t been one of Carpenter’s films, I would have on the whole liked it quite a bit.

That being said, it’s weird to see Carpenter—and he really didn’t try it again, until Memoirs of an Invisible Man (1992) maybe—make a film that doesn’t have a pitch black heart.

It’s even weirder that Carpenter made this film shortly after—Christine (1983) only remains in the gap—he made the bleakest tale of alien visitation, The Thing (1982).

But, at his best, that’s what John Carpenter does: surprise.

It surprises not only in Carpenter’s choice of genre—alien invasion as hybrid of mediation on grief, romantic comedy, and road picture—but also in terms of casting. Carpenter would have been forgiven for using the Robert De Niro to his Scorsese and putting Kurt Russell in the role of Starman. That would have been a mistake, though. Whether Carpenter had the presence of mind to go another way, or he had the idea thrust upon him by the studio, but there’s an inquisitive, guileless innocence to Bridges that Russell didn’t even have when he was outwitting Cesar Romero.

It almost, just almost, makes one want to ignore that Carpenter isn’t using Dean Cundey as cinematographer. It might be a bit too much to allow for Carpenter to not writing the score. Unless you’ve managed to get Ennio Morricone, there’s really no excuse for that kind of mis-fire.

The Last Picture Show (1971)

Director: Peter Bogdanovich

Cast: Timothy Bottoms, Jeff Bridges, Ellen Burstyn, Cybill Shepherd

Have I Seen it Before: Yes. I have the most fleeting of memories of catching it on TCM at some point in the early `00s or late `90s. At the time, it didn’t really connect with me. That was likely because I was living through my own, twisted variation of the story at the time, in so much as I was young and so singularly obsessed with my life as it presented itself at that moment.

Did I Like It: It must have been difficult to be Peter Bogdanovich. He came to filmmaking by way of film history, and chiefly as an acolyte of Orson Welles. Here, he was viewed as a young auteur who may never outpace this early success. Toward the end of his career, he was still talking about Welles, and even committing his anecdotes to film, with The Cat’s Meow (2001). Here, too, he became so enmeshed in McMurtry’s world, that he left his wife for the ingenue he had discovered to play Jacy Farrow, the most calamitous temptress in southern literature since Scarlett O’Hara. He’s always been a filmmaker dictated to by others; a passenger in his own career.

But, as with the discovery of Shepherd, Bogdanovich is swinging for the fences in every aspect of the film. Ever actor is perfectly cast (I hesitate to single any particular performer out for attention, but I will say that when I read that Cloris Leachman won the Oscar for Best Supporting Actress, I may have visibly nodded, even though no one was in the room at the time) The cinematography is stark, wielding the stark contrasts of black and white photography far more clearly than any color photography could ever hope to… It all brings to mind one other, young filmmaker who was able t ogive everything to a film so early in their career.

Even now, I can’t help but compare him to Orson Welles. It must have been hard to be Peter Bogdanovich.

Iron Man (2008)

Director: Jon Favreau

Cast: Robert Downey Jr, Gwyneth Paltrow, Jeff Bridges, Terrance Howard

Have I Seen it Before: Oh, so many times. That first time feels like a million years ago. Then there are times when it feels like it was just yesterday. Sorry. I may still be working through some Avengers: Endgame (2019) feelings, as at the time of this writing, I only saw that film for the first time this weekend.

Did I Like It: Of course. The thing that Marvel did—and may have only lucked into—where DC’s larger universe has failed, is that they made a highly watchable first movie. 

Some people might say that Obadiah Stane/Iron Monger (Jeff Bridges) is a lackluster villain, and that the third act looks a lot like many of the other superhero films in the decade or so that preceded it. These are all valid concerns, but the Marvel Cinematic Universe proved from its infant days that a weak villain wouldn’t keep these movies down. This film converted verifiably great film actor Robert Downey Jr. to unassailable film star, Robert Downey Jr. Few people can pull off both. In fact, he might be the only one.

It’s also a fairly engaging story about the creative process. I’ve never created a mechanical suit of armor, but I have written a few books and engaged in other creative endeavors, so the process of suitmaking resonates with me. The Mark I is like a first draft. Lurching, awkward, and only if your lucky will it work in fits and starts. The Mark II is a good revision. All of the obvious problems have been fixed, but you only discover all new problems you hadn’t yet considered. By the time the suit is hotrod red and gold in its Mark III iteration, it has finally started to sing, much like later polishes. And yet, still you want to make refinements to your design. 

I want to be Tony Stark in my own way. Figuring things out. Always funny regardless of what’s going on. And now? Well, go read my Endgame review. But, as I’ll soon try to make the point in another venue, every story has to end, but there’s always charm in going back to the beginning and revisiting old friends.