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TRON: Legacy (2010)

Tron: Legacy (original title)
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The son of a virtual world designer goes looking for his father and ends up inside the digital world that his father designed. He meets his father's corrupted creation and a unique ally who was born inside the digital world.



(screenplay), (screenplay) | 6 more credits »
962 ( 91)
Nominated for 1 Oscar. Another 10 wins & 48 nominations. See more awards »



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Cast overview, first billed only:
Anis Cheurfa ...
Siren #2
Siren #3
Siren #4
Half Faced Man (as Yurij Kis)
Chattering Homeless Man


Sam Flynn, the tech-savvy 27-year-old son of Kevin Flynn, looks into his father's disappearance and finds himself pulled into the same world of fierce programs and gladiatorial games where his father has been living for 20 years. Along with Kevin's loyal confidant Quorra, father and son embark on a life-and-death journey across a visually-stunning cyber universe that has become far more advanced and exceedingly dangerous. Meanwhile, the malevolent program CLU, who dominates the digital world, plans to invade the real world and will stop at nothing to prevent their escape. Written by ZootCatchy

Plot Summary | Plot Synopsis


The only way to win is to survive. See more »

Motion Picture Rating (MPAA)

Rated PG for sequences of sci-fi action violence and brief mild language | See all certifications »

Parents Guide:





Release Date:

17 December 2010 (USA)  »

Also Known As:

TRON: Legacy  »

Box Office


$170,000,000 (estimated)

Opening Weekend:

£1,970,692 (UK) (17 December 2010)


$172,051,787 (USA) (8 April 2011)

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

| |


Aspect Ratio:

2.35 : 1
See  »

Did You Know?


Kevin Flynn sets down a metallic polyhedron on the fireplace mantle. Later, when CLU comes in his house, he picks up this same metallic polyhedron. This is a direct homage to TRON (1982) since this is a Bit which assisted both the original CLU and Flynn. See more »


During the fight in the End of line club. Gem is directly on the right of Castor. But after Quorra arrives, Gem is no longer directly next to Castor. When Castor pronounces "Behold! the son of our maker!" Gem appears on the right of Castor, but a few feet behind him. Then makes a motion as if to play his cane like an air guitar, Gem is now taking a seat right of Castor instead of standing. When Castor fires his cane, Gem reappears on the right of Castor. See more »


[first lines]
Kevin Flynn: The Grid. A digital frontier. I tried to picture clusters of information as they moved through the computer. What did they look like? Ships? motorcycles? Were the circuits like freeways? I kept dreaming of a world I thought I'd never see. And then, one day...
7 Year Old Sam Flynn: You got in.
Kevin Flynn: That's right, man. I got in.
See more »

Crazy Credits

The Walt Disney Pictures logo is modified in the same style as the digital TRON world. See more »


Referenced in Hollywood's Top Ten: Game On! (2010) See more »


Sweet Dreams (Are Made of This)
Written by Annie Lennox and David A. Stewart (as David Stewart)
Performed by Eurythmics
Courtesy of Sony Music Entertainment (UK) Limited and The RCA Records Label
By arrangement with Sony Music Licensing
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Effects heavy style that works as such despite having a basic plot and nothing really in terms of characters
1 May 2011 | by (United Kingdom) – See all my reviews

The sequel to Tron took the right approach to the marketing and went into effect a good year before the film came out. Recognising that many people (apart from real fans) will only have a hazy recollection of the film and will probably vaguely remember it as "good" but really only remember the iconic bikers and design of it all, the marketing focused on the updated design, bikes etc that make up this world. In every interview there was always a smattering of talk about father/son and comments made on the power and omnipresent nature of computers and networks but really it was the visual aspects of the film that were pushed to the front. So it was with the marketing, so it is with the film where we join the rebellious son of Flynn as he gets sucked into the grid and discovers that his father's dream has been corrupted by a clone programme of himself.

It is advisable to start with the world that has been created within this film because ultimately this is its main selling point. It looks great – faithful to the original creation but never feels dated by an old view of computing, it is a vibrant place and even some forced "places" (like a nightclub that makes it feel a little Cool World) don't hurt it beyond the bigger idea and feel. I saw it in 2D but the looming ships and bikes and such all worked well and looked great. The effects that produce a young Jeff Bridges are technically impressive and mostly they work well – it is only the very small movements of skin and face that don't convince but it is so good that, rather than "not working" it just looks like something is a little freaky with him. Although I'm not a massive Daft Punk fan, their soundtrack does work well and they fit the film well.

The film is mostly moved forward by this style and frequent action sequences; mostly this is enough and I did find it to be entertaining considering that I expected the 2 hour long film to drag once the novelty wore off after 15 minutes. The basic plot (get to the exit before the other guy does) is enough to provide room for action but not for characters. Occasionally we will get attempts at this and they kinda work just for that moment but not to make me care about the people/programmes. Hedlund is likeably athletic and that is what he brings to the role – not much in the way of performance but he fills the lead well enough. Bridges seems to be channelling the Dude for a reason I cannot totally understand and, although he is cool and effective in his roles, it isn't really a performance per se. Sheen hams it up in his brief moments while House's Wilde makes an appealing female programme even if she has nothing in terms of substance to offer.

Overall it is an effects film and in this regard it works very well, getting the style right in an engaging and slick manner that is all style. The substance is not really there to match it but if I'm being honest I didn't really miss it; mainly this was due to the style and action making up enough of the time and engaging me enough to not worry too much about not caring about anyone in the film. A hollow film then in many regards but it will be good looking enough to win over viewers despite this empty core.

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What was CLU thinking?! Adrian_Lightfoot
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