TRON’s Legacy is a Forgettable One

TRON: Legacy

Despite my overall issues with the unoriginal plot, in my opinion Avatar has set the bar for 3D films. There have been very few 3D films; since Avatar’s release, that have managed to balance visual flair with a decent story. Most of the films have not even warranted the 3D treatment in the first place. Like several films released before it, Disney’s latest 3D adventure TRON: Legacy, boast impressive visuals but is ultimately undermined by the silly plot.

Set 20 years after the disappearance of Kevin Flynn (Jeff Bridges), the innovative software engineer from the original film, Legacy focuses on how his son Sam (Garret Hedlund) struggles to cope with his father’s disappearance. Sam is now the head of his father’s company, but cares little about seeing it strive. One night Sam is informed about a message sent from his father’s abandoned arcade. In the arcade, Sam discovers a portal that sends him into a digital world known as The Grid. Formerly a place of endless possibilities, The Grid is now a cold world ruled by Clu (Jeff Bridges), a computerized clone of Flynn. Clu is determined to expand his empire into the real world but needs Flynn’s memory disk in order to succeed. Sam, along with the help of Quorra (Olivia Wilde), must race to get his father out of The Grid before Clu can bring his plans into fruition.

As I mentioned earlier, TRON: Legacy is truly a visual treat especially in IMAX. However, there were times when the lighting from the suits would create a blurry effect on the IMAX screens. This was minor blip in an otherwise great job from a technical standpoint. The rendering of Clu is one of the most realistic computer generated characters I have seen in quite a while. Clu’s facial expressions and movements felt more natural than the ones featured in films such as Beowulf and The Polar Express. Another sight to behold is the world of The Grid. The set designs and costumes provided an innovative futuristic look while still acknowledging the original TRON film. I particularly liked the brief moment where Sam steals his father’s famous motorcycle from the first film. It should also be noted that the score by Daft Punk, who make a cameo in the film, also helps to bring The Grid to life. While not the feverish dance beats usually associated with Daft Punk’s work, their minimalist approach for the film works perfectly with TRON: Legacy. 

Despite all of the elements in the film’s favour, TRON: Legacy stumbles in its plot which often feels like a hybrid of Batman Begins and Star Wars. There are events that occur in the film at random moments with no real logic at all. For example, Kevin’s Jedi-like powers only appear when it is convenient to advance the plot. Which leads to audience to question if Kevin had this ability all along then why did he not use it sooner? The film is so bogged down with filling the gaps between the original TRON and the new version that it is practically devoid of action. Minus the sequences at the beginning and end of the film, TRON: Legacy is actually a rather boring film. In many ways TRON: Legacy would have worked better as a television series. It would allow for better development of all the various plot points that the film sloppily tries to cram into two hours. Worst of all, the dialogue in the film is both predictable and laughably bad. This is most evident in the forced romantic moments between Sam and Quorra.

Since TRON: Legacy’s plot and dialogue are so weak, the actors try their best with the material they are given. Jeff Bridges is at his best in the film when he is playing Clu. He offers a nice break from the same yet-again-recycled Lebowski character, last seen in The Men Who Stares at Goats, which he brings to the role of Kevin. While Bridges has his moments, the real highlight from an acting standpoint is Michael Sheen. He brings much need energy to the film in his role of the shady Castor. Sheen is the only one who actually seems to be having fun in the picture. Not only that but he makes a strong case for himself playing The Riddler in a future Batman film.

Unfortunately both Sheen’s work and the stellar visuals cannot save TRON: Legacy from its ridiculous plot. No matter how far the technology has advanced, at the end of the day it is the plot that will separate the good films from the average ones.

Ajami's Hard Streets Hurt Soul

Ajami


Now that the Academy Award nominations have been announced there is a lot of debate over whether Avatar or The Hurt Locker will come out on top. Instead of weighing in on that discussion I want to focus on the one nomination that brought me the most joy Tuesday...Ajami’s nomination for Best Foreign Film. The film was released in New York on Wednesday and is expanding to Los Angeles in the coming weeks. Hopefully the Academy Award nomination will help to expand its theatrical run to an even wider release before it hits DVD.

I was fortunate enough to catch Ajami at last year’s Toronto International Film Festival. After reviewing my initial selections, I decided I needed to add a few more foreign films into the mix. So I traded in my ticket for Drew Barrymore’s Whip It and took a chance on Ajami. Needless to say it was one of the smartest moves I made in since I started attending the festival back in 2001. The decision almost made up for me passing on tickets to films such as Whale Rider and Brokeback Mountain a few years back…almost. Hey, sometimes it is tough to tell what films will be a good if you simple go by the brief write up in the festival’s program book…but I digress.

Ajami is co-directed by Scandar Copti and Yaron Shani, one is of Palestinian decent while the other is an Israeli Jew, and their vastly different backgrounds offer a very unique feel to the film. The conflicts between Israelis and Palestinians have been widely documented on a global scale but rarely do we see what goes on daily in average neighborhoods. Ajami looks at how the lives of seemingly separate individuals are intertwined. There is the story of a family who is doomed to pay for one uncle’s heroic act. Another story looks at an Arab who wants to live in Israel. There is also the tale of a cop who is desperate to find his missing brother. To give any more of the plot away would be a great disservice to the film.

Ajami is a film very much in the same vein as City of God. The majority of the film is set in Jaffa the crime ridden section of Ajami. There are corrupt Jewish police officers, organized gangs, Palestinians working illegally, etc. The fascinating thing about the people living in Jaffa is, despite their profession and/or social class, how deep their faith runs. In fact, one of the most shocking things about the film is how much religion factors into everyone’s daily life. Every action is said to be in Allah’s name. Allah name is often used to justify a lot of the criminal activity in Jaffa. This makes for a fascinating contrast in many of the characters that inhabit the film.

The majority of the cast consist amateur performers from the area where the film is set. The non-professionals do a really good job drawing the audience into their world. The film's non-linear storyline also help to enhance the overall impact of certain characters. Ajami does not make any grand political statements nor does it choose sides. Instead it provides a fascinating, and at times heartbreaking, look at how corruption and violence can ruin communities no matter where in the world you are.

A Christmas Carol Out of Tune

A Christmas Carol

The massive success of Avatar only cements that 3D films are here to stay. So the question now becomes what requirements does a movie need to warrant this technology? Would Inglourious Basterds or Up in the Air be better or worse if they were done in 3D?

Robert Zemeckis follows up his Old English 3D epic, Beowulf, by revisiting the holiday terrain he first ventured to with his 3D movie, The Polar Express. A Christmas Carol finds Zemeckis tackling Charles Dickens classic tale of Ebenezer Scrooge (Jim Carrey) who is visited by three ghosts (all Carrey) on the eve of Christmas. The three ghosts will not only show Scrooge the errors of his past and present, but how Scrooge's decisions may lead towards an unsettling future.

Zemeckis has been one of the prominent filmmakers who has been championing the 3D movement for that past 5 years now. While the animation in Zemeckis's 3D films keeps improving, the 3D technology continues to thwart his overall storytelling. A Christmas Carol follows a ever growing number of films that serves no real purpose in 3D format at all. The flow of each ghosts' segment is constantly interrupted for no other purpose than to justify the extra price of admission. As a result we are provided with 3D scenes of Scrooge being shot into space, speeding down the street on a soda bottle, etc. Sure these scenes may please the really young kids in attendance, whose attention spans are small to being with, but for the rest of us this is just plain annoying.

The need to justify the 3D format hurts the one element of the film where Zemeckis actually got it right, the story. Although the tale of Ebenezer Scrooge has been interpreted numerous times, it was actually refreshing to see how close Zemeckis stayed to Charles Dickens' original story. While many incarnations of A Christmas Carol have glossed over, or simply left out, the religious element of the text; Zemeckis does not shy away from it at all. Robert Zemeckis even goes as far as making the ghost of Christmas-present God himself. There is even a great scene where the ghost of Christmas-present, after being questioned by Scrooge, chastises those who use his name as grounds for conducting evil deeds. It is moments like this, and not the 3D snowflakes, where A Christmas Carol really connects with the audience.

Another thing connects, but ultimately gets lost in Zemeckis' 3D excess, is Jim Carrey's performance. Carrey actually does a really good job not only as Scrooge but the three ghosts as well. As Scrooge, Carrey finds the right balance where we believe him as botha crotchety old-man and a misguided soul who just wants one last shot at redemption. In A Christmas Carol, Carrey is actually the best he has been since his 2004 combo of Eternal Sunshine for the Spotless Mind and Lemony Snicket's A Series of Unfortunate Events. It is just too bad that Zemeckis inadvertently overshadows Carrey's work with his need to have objects flying off the screen. If A Christmas Carol had just played it straight, it might actually be worth recommending. Unfortunately Zemeckis tries too hard to create a 3D experience for a picture that should not have been in 3D in the first place.

New 3D Avatar Come in Familiar Packaging

Avatar

In a future were Earth’s natural resources are scarce, humans must acquire resources from other planets. One planet in particular, Pandora, is has a wealth of resources that Parker Selfridge (Giovanni Ribisi) and his shareholders hope to make a hefty profit on. The problem is that Pandora is inhabited by the Na’vi, giant blue creatures that have a unique link to the planet. The humans eventually find a way to make their own Na’vi clones (known as Avatars) that are piloted by human brains. Jake Sully (Sam Worthington), a paraplegic Marine, is offered a chance to have his own Avatars so that he can provide assistance to Dr. Grace Augustine (Sigourney Weaver) as she conducts her research on the planet. Through his travels Jake meets Neytiri (Zoe Saldana), one of the Na’vi who is not fond of outsiders. When word back gets to Selfridge and Colonel Miles Qauritch (Stephen Lang) that Jake has made contact with the Na’vi, the two men see this as an opportunity to broker a deal to acquire the resources they need. Yet if Jake is unable to successfully get the Na’vi to leave their land in time, Qauritch and his soldier are more expedite things by any means necessary.

Technically speaking, Avatar is truly an amazing accomplishment! Keep in mind this is coming from a person who is not a fan of the recent 3D explosion in Hollywood. Director James Cameron has made a career out of being a head of his time in regards to special effects and this film is no different. The live action scenes are equally as mesmerizing as the animated portions. Best of all, the technology actually compliments the film instead of overshadowing it. This allows you to really immerse yourself into the world of Pandora and the characters that inhabit it. Regardless of whether it is the natural beauty of the planet, the human/Na’vi characters, or the epic battle sequences, Avatar keeps you hooked all the way to the end.

As exciting as the overall Avatar experience is, the one downside is that there are no real surprises from a story standpoint. If you have seen films such as Dances with Wolves or The Last Samurai, just to name a few, then you have pretty much seen Avatar. As a result, there are never any moments of real tension in the film. When I think back to last year’s event film, The Dark Knight, I can recall at least seven scenes where I was literally on the edge of my seat. Even when I was sure I knew what was coming, the rug was still pulled out from under me (e.g. racing to save Rachel but finding Harvey instead, etc.). Avatar has no such moments, which makes the story feel like it was a “paint by numbers” project. You know exactly which characters will rise up for the side of good and which characters will only have their own interests in mind.

It also does not help that James Cameron had this story on the shelf for such a long time. Since Cameron had to wait for technology to catch up to his vision, he used snippets from the Avatar script in many of the other films he directed up to this point. Several of the elements that should “wow” the audience come off more as a reminder of Cameron’s extraordinary canon of work (e.g. The Abyss, Aliens, Titanic, etc,). While this is not necessarily a bad thing it does take away a bit of the newness from the whole production.

To James Cameron’s credit, he did manage to bring out genuine emotion out of this all too familiar tale. There are some scenes in Avatar that are clearly designed to pull at the heartstrings and they do just that. The pain and sorrow conveyed by the Na’vi in Avatar is far more gripping and real than a bulk of the movies released this year. Zoe Saldana and the rest of the cast who played the Na’vi did a great job of providing their characters with distinct personalities and emotions.

As far as “event” pictures go, Avatar is definitely a must see in 3D. While I think the film will hold up well in regular format, this is really a production that must be viewed in the director’s original vision. Despite the predictable plot, Avatar is a film that delivers on both and entertainment and technological front.

3D Valentine Card Still Bloody Boring

My Bloody Valentine 3D

Over the last few weeks I have slowly been catching up on some of the horror flicks that have come out this year. Two movies in particular, Paranormal Activity and My Bloody Valentine 3D, have exceeded expectations at the box-office but for vastly different reasons. Today I will focus on the latter and leave Paranormal for another day.

James Cameron’s much anticipated film, Avatar, is suppose to be the picture that finally legitimize the 3D movie industry. Yet I would argue that My Bloody Valentine 3D is reason enough why the 3D revolution should end. Sitting just behind The Final Destination as the second highest grossing non-family oriented 3D movie to be released this year, My Bloody Valentine proudly displays everything that is wrong with both modern horror films and 3D movies in general.

Set in a small town mining community, Tom Hanninger (Jensen Ackles) and his girlfriend Sarah (Jamie King), along with pals Axel (Kerr Smith) and Irene (Betsy Rue), attend a Valentine’s Day party at the infamous Tunnel No. 5 section of the local mine. A few weeks prior to the party, Tunnel No. 5 was the site of a horrendous accident in which 6 miners were trapped underground for six days. As coincidence would have it, Tom's careless mistake while on the job is what actually led to the mine collapsing in the first place. When the miners are eventually found only one, Harry Warden (Richard John Walters), is still alive. It seems that, for reasons no one knows, Harry snapped while trapped underground and killed all of his co-workers. Through a series of nonsensical events Harry ends up in a coma and is hospitalized. Or so the town thinks.... Harry magically awakes in times for Valentine's Day and goes on a killing spree unlike anything the town has ever seen before. Flash forward 10 years, with Harry supposedly dead, and the body count start to pile up again. Has Harry Wardern comeback from the dead to finish what he started? Was he even dead to begin with? More importantly, can the killer be stopped before it is too late?

2009 has been the year of the 3D movie and, to be frank, the madness needs to stop. My Bloody Valentine only helps to prove that the 3D explosion is nothing more than a gimmicky cash cow for Hollywood. The whole movie is basically a series of set ups to provide the director, Patrick Lussier, opportunities to throw objects at the screen. There is nothing remotely authentic or interesting about the whole production.

My Bloody Valentine 3D even fails in comparison to the other horror remakes, such as Friday the 13th, released this year. At least Friday the 13thremake knew how to balance both the campiness and the gore of the slasher genre. When My Bloody Valentine is not focusing on the 3D silliness it seems to be rather lost as to what to do next. As a result, Lussier ups the gore to ridiculous and uninspiring levels every chance he gets. Also, to fill the nudity requirement, Lussier has Besty Rue walk around nude in a scene that was clearly designed with 13 year-old boys in mind. Yet even Rue's ample physic cannot distract us from how awful the movie is. The acting is horrible, and not in the so bad it is good way, and the plotting is pedestrian. Worst of all My Bloody Valentine does not have a single good scare in the entire picture. Maybe Avatar will ultimately change my mind about the whole 3D movie experience but, as it stands, I think Hollywood should finally put a nail in the 3D coffin.