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Edit
Storyline
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
Taglines:
The only way to win is to survive.
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Details
Release Date:
17 December 2010 (USA)
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Box Office
Budget:
$170,000,000
(estimated)
Opening Weekend USA:
$44,026,211,
19 December 2010, Wide Release
Gross USA:
$172,062,763, 14 April 2011
Cumulative Worldwide Gross:
$400,062,763, 31 December 2011
See more on IMDbPro »
Company Credits
Technical Specs
Aspect Ratio:
2.39 : 1
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full technical specs »
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Did You Know?
Trivia
The majority of the street shots and the Ducati motor cycle chase (in the real world) were shot in Vancouver B.C.
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Goofs
During the fight scene in the End of Line, Quorra is wearing boots without heels. When Sam carries her off the elevator towards the cargo ship, Quorra's boots now have a heel.
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Quotes
[
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.
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Crazy Credits
The closing credits feature 3D computer circuits that pop-out of the screen.
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Soundtracks
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
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Frequently Asked Questions
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User 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.