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The Legacy of “Tron” and the Sound on Sight Podcast

The Legacy of “Tron” and the Sound on Sight Podcast (photo)

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Last night, I was invited to join the Sound on Sight podcast for their review of “Tron: Legacy.” I encourage you to click over to listen to the full half hour review; it was a good discussion and I got to express a lot of my thoughts about the movie: briefly, that it is a stunningly good-looking film with a nonsensical plot, bad dialogue and a severe shortage of charisma in the lead role (star Garrett Hedlund is essentially a poor man’s Chris Pine). What I didn’t get to talk about enough were my thoughts on “Tron: Legacy”‘s place in contemporary film culture and film history; to examine the true legacy of “Tron,” if you will.

The original “Tron,” made in 1982 by Steven Lisberger, was a true technological breakthrough. It used computer generated effects in ways no one had ever seen before. It invented this kinda dumb, kinda clever intracomputer world and turned it into a massive visual spectacle. The film didn’t really make much sense, but it looked really cool while it was not making much sense, and that was deemed enough to make it a cult film.

Though “Tron” was ultimately a box office disappointment, its model of filmmaking — special effects as a film’s first, or really only concern — has increasingly become the prevailing mode of most Hollywood blockbusters. We still see the occasional “Inception,” but the vast majority of tentpoles look like “Tron:” the latest special effects, the lamest story, character, and dialogue. More and more, they’re also based on video games or heavily inspired by them, as the original “Tron” was.

Director Joseph Kosinski updates the thirty year old aesthetic of “Tron” in a way that feels fresh and exciting. “The Grid,” the Oz-ish realm of anthropomorphic computer programs, looks better and more tangibly real than CGI in movies set in the real world, a perfect touch for a film about men who are so intoxicated by this alternate reality that they become consumed by it. And yet for all of Kosinski’s admirable work rebuilding the world of “Tron” — he’s no less the brilliant creator of this place than Jeff Bridges’ Kevin Flynn is — and for his seemingly preternatural skill directed the effect- and stunt-heavy action sequences, he is utterly clueless when it comes to scenes of dialogue and exposition. After a series of appetite-whetting set pieces where Hedlund’s Sam, son of Bridges’ Kevin, participates in a series of propulsively staged gladiatorial games, the movie’s momentum screeches to a halt like a light cycle slamming into an opponent’s exhaust. Sam finally locates his long lost father in The Grid and proceeds to spend an arduous thirty minutes reconnecting with him, learning about what he’s been up to, and bickering with him over how to escape from their digital trap. These scenes are flat, tensionless, and boring. Finally after what seems like forever, the pair and their vaguely explained hottie computer program partner (Olivia Wilde) make a break for reality and the film begins to thrum again to the beat of Daft Punk’s bouncy score.

Last week on IFC.com, I wrote a piece on the diminishing returns in special effects movies. As part of it, I discussed the recent trend towards special effects artists becoming directors of their own films. Kosinski is another guy with a similar background: according to his own website, “his work reflects his background in design and architecture.” It certainly does; “Tron: Legacy” revels in both — consider the way, for instance, the digital warriors’ motorcycles and airplanes form out of thin air as 3D architectural models that grow instantaneous detail and substances. Kosinski’s history making commercials for video games prepared him well for working in entirely digital worlds but not for working with actors. No wonder there are times where the CGI Bridges (a devious computer program named Clu) seems more invested in the narrative than the real one.

So while “Tron: Legacy” is far (and I mean far) from a perfect film, it is the perfect sequel to “Tron.” That also makes it the perfect summation of modern mainstream filmmaking: a digital creation — not to mention a sequel — that’s all spectacle and no heart. For additional thoughts on “Tron: Legacy,” go listen to our review on the Sound on Sight podcast.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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Draught Pick

Sam Adams “Keeps It Brockmire”

All New Brockmire airs Wednesdays at 10P on IFC.

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From baseball to beer, Jim Brockmire calls ’em like he sees ’em.

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It’s no wonder at all, then, that Sam Adams would reach out to Brockmire to be their shockingly-honest (and inevitably short-term) new spokesperson. Unscripted and unrestrained, he’ll talk straight about Sam—and we’ll take his word. Check out this new testimonial for proof:

See more Brockmire Wednesdays at 10P on IFC, presented by Samuel Adams. Good f***** beer.

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