TRON Ares Review

 “Ready? Because there’s no going back.” 

That quote by Jeff Bridges’ Flynn avatar may be sadly prophetic based on the box office performance of Disney’s latest entry in the TRON saga. With a relatively weak opening, TRON Ares may be the last visit to The Grid, at least in theaters. This hits harder because all of the films in the trilogy are better seen on the big screen. In order to get the best experience, I sprung for an IMAX Laser 3D ticket like I did for TRON:Legacy back in 2010. This decision is based on the fact that TRON films have historically been effects and score driven spectacles with story as an afterthought. This is what one should expect going in. 

While the original 1982 lightly explored a quasi-religious relationship between programs and their users, and the 2010 film touched on loss and betrayal, TRON Ares digs a little deeper into heavy philosophical issues. Tackling heavy topics like mortality, morality, and unchecked AI, director Joachim Rønning takes some big swings attempting to bring relevance and immediacy to the TRON universe. The challenge is balancing high concept and the spectacle which another Jared Leto film, Blade Runner 2049, attempted to a more successful degree than this film. TRON Ares is definitely darker and grittier than the previous two films with the Nine Inch Nails score driving the point home and is the first TRON film to feature the death of a human character. 

Ultimately TRON Ares is a fun, visually striking film that brings the electronic world into our own, which was alluded to in the previous film, now fully realized. No big jumps in technology in the last fifteen years, unlike the twenty-nine year gap from TRON to TRON:Legacy, resulting in a smoother transition to this latest release. Then there is the music. Of all popular film series, the TRON films have had the most varied yet consistently excellent scores, including by the Oscar winning team of Trent Reznor and Atticus Ross performing as industrial powerhouse Nine Inch Nails. 

More than a series of action sequences (although there are plenty and they are exciting) and a cool soundtrack, TRON Ares is a valiant effort to bring some gravitas and deeper meaning to a film series better known for flash and spectacle and we are better for it. As a TRON fanatic since 1982, I am clearly biased and thankful for one more trip to The Grid, and that old school Lightcycle, are you kidding me?! 

PSA: stay for the mid-credit scene. If you don’t get it, ask a member of the TRON faithful. 

Dr. Syn, Alias The Scarecrow

 I watched the 1963 three part miniseries The Scarecrow of Romney Marsh as it aired on Walt Disney’s World of Color TV program. Although it was later released as a compressed feature length film, I was able to track down a clear copy of the original airing with introductions by Uncle Walt himself. The Scarecrow is the smuggling, Robin Hood-like alter ego of Vicar Dr. Syn played by the incredible Patrick McGoohan. Syn was a real life British hero to the poor under King George’s rule around the time of the American Revolution. The miniseries never drags on and kept me engaged the entire run. It’s unfortunate that the story didn’t continue, even though the original author Russel Thorndyke wrote more adventures for the rouge and his band of smugglers.

Escape to Witch Mountain 50th Anniversary Review

 After not seeing this Disney classic after 40 years during its repeated runs on HBO, I decided the 50th anniversary would be a good time to dust off the DVD. Top notch performances by legends Eddie Albert, Ray Miland, and Donald Pleasance and breakout performances by Kim Richards (my 70’s crush) and future “son of Kahn” Ike Eisenmann add to the fun. What makes this film stand out from typical Disney films of the time is a palpable and unsettling sense of dread throughout the story. As with all Disney films, there is a happy ending, but getting there takes going through some very dark themes including abandonment, manipulation, and betrayal. The effects department did what they could with the technology of the period which adds to the charm, especially the scene with the marionettes dancing on their own. This film is notable for Legend of  Hell House director John Hough relying on his horror chops and not shying away from some darker, more adult themes.