But there's enough material introduced without being overwhelming for the new Grid entrant, and opens up a lot more avenues for future storytellers.Even for those days, I wasn't one of those who got instantly impressed by the effects of the time, but then again that's what made TRON stand out based on its uniqueness in look. Fans will get to learn and understand this expanded universe a lot more as explanations get dished out in due course, even one that deals with the time in between the first and second films, of Kevin Flynn's obsession with his latest playground that his creation ultimately took over, turning it into an arena with its own brand of gladiatorial fights for entertainment. The dramatic elements here between Father and Son is the film's strength to provide that emotional anchor and attachment making this a digital affair with plenty of soul, and the chemistry shared between Jeff Bridges and Garrett Hedlund make them quite the father and son pair up, with shades of how revered the former is within his own created realm, and the tremendous power that he still holds even if in exile.Olivia Wilde provides for the token fashionista who is ever ready to flex her battle prowess with skills in various weapons - a lethal combination of The Matrix's Trinity equipped with Star Wars blades - and vehicles, whose background is given a superficial twist which seeks to expand the TRON universe a little bit more with miracle phenomenon being a natural occurrence once a perfect equilibrium is achieved. It's what being human is all about with our imperfection. Humans aren't perfect, so our creations in all likelihood will inherit some of our flaws, no matter if they happen to be digital and following certain fixed patterns and constructs.
Creations made in the image of is quite pronounced in a scene that stood out almost like Michelangelo's Creation of Adam, although here it's interpreted in the digital realm.
Or how about something which reminds one of Gotham City's caped crusader, with the Tumbler inspired getaway vehicle with large inflatable tyres played out in a scene right out of Tim Burton's first Batman movie with the long road back to the secret hideout within which to seek out answers to questions left silent en route.So I may be stretching it, but there will be certain degrees of familiarity you'll find in some moments of the story, but I assure you the crux of it is a film that has deeper pathos, dealing with man's relentless pursuit for perfection and utopia, and the desire to play god if given a chance. But of course the Wachowskis didn't have Daft Punk to turn the tables, and parallels between the Matrix and the Grid cannot be more prominent given entities within are programs, with the ones gone rogue instilled with a desire to cross over to the real world.Then there's something unmistakably Star Wars about it too, with the designs of attack space crafts zipping through the night sky, and clearly one of the many gorgeous costumes here can't seem to hold a candle to what looked like an awesome robe, simple as it is, but striking nonetheless. That of Kevin Flynn the founder of Encom and his digital creation / avatar Clu to meet Castor played by Michael Sheen with flamboyant spunk an information broker in the undergrounds of the digital Grid world, seems to have contained a whiff out of The Matrix Revolutions, with Persephone and Merovingian.
0 kommentar(er)
