Once again the story unfolds primarily inside computer space, which is imagined as a three-dimensional, futuristic reflection of our own world, which makes sense given that computers are human-created, even if they don’t always play by human governance (anyone who has had their laptop refuse to execute a command knows this). The stakes are higher this time, not only because 30 years of advancement in CGI technology has allowed the filmmakers to give new depth, breadth, and, most importantly, weight to their neon-tinged digital domain (heightened by the propulsive, mesmerizing score by the French electronica duo Daft Punk), but because the computers within the story are also more powerful and, therefore, dangerous.

The first movie’s hero, a computer hacker and video game designer named Kevin Flynn (Jeff Bridges), has designed a new system called “The Grid,” which is envisions as a “perfect” environment in which humans and computers will be fully interactive. In 1989 (seven years after the events in the first movie), he disappears mysteriously, leaving his young son Sam alone, albeit with ownership of a majority of shares in his massive corporation Encom. Jump to the present, and Sam (Garrett Hedlund) is a rebellious twentysomething who likes to prank his father’s company, which has fallen into the hands of soulless capitalists who want to make money, rather than advance technology for the greater good of humanity. At the behest of Alan Bradley (Bruce Boxleitner), Flynn’s friend from the first movie, Sam discovers his father’s secret computer lab in the basement of his old video arcade, and soon finds himself zapped into the computer space where he discovers his father has been trapped for more than 20 years. Flynn, now a bearded sage who is part Obi-Wan Kenobi and part Big Lebowski, lives “off-Grid,” which keeps him safe from his digital double, a computer program named Clu (who is played by a digitally de-aged Jeff Bridges) who has taken over the Grid and is threatening to find a way to break through into the “real world.”

First-time director Jospeh Kosinski, working from a script by Lost scribes Edward Kitsis and Adam Horowitz, does his best to forge a union between the heady philosophical head-scratchers at the story’s heart while also using all the technology at his disposal to do what Lisberger and his team couldn’t 30 years ago. Many of the familiar sights and sounds are back, including the light cycles and the disc battles, but it is envisioned with the kind of computing power that was science fiction in the Reagan era (although I imagine that the uneven de-aging of Bridges, which at times makes him seem decidedly fake, will be as laughable 10 years from now as the original’s imagery is today). The various designers who worked on Tron: Legacy should be commended for finding ways to stay true to the original film’s visuals (which were largely the work of famed industrial designer Syd Mead, who also worked on Blade Runner) while also building on them and bringing them into a new age. In terms of continuity, it makes sense that the world of Tron would be so much more robust and detailed in 2010 than it was in 1982 because the technology within the world of the story has advanced in tandem with the technology used to create it; you can’t say where one ends and the other begins.

Unfortunately, for all its visual prowess, heightened by the use of James Cameron’s proprietary 3-D technology, Tron: Legacy lags in the story department. Kirsis and Horowitz make a genuine effort to develop a father-son dynamic between Flynn and Sam, but the emotional connection never takes hold. Late in the film when Sam is risking all to save Flynn, it feels like a narrative excuse to generate suspense and draw out the action, rather than the desperate decision of a son trying not to lose his father again. The same could be said of Quorra (Olivia Wilde), a mysterious program in the guise of a beautiful woman who is completely dedicated to Kevin, but also seems tailor-made for romantic involvement with Sam (it doesn’t help that she is anthropomorphized computer code). Everyone fights the good fight, with Sam becoming a man in the process and Kevin coming to terms with his own short-sightedness in trying to achieve “perfection,” which provides some element of a human dimension, albeit one that is never able to meet, much less exceed, the overall visual impact of the film’s astonishing light show. In short, technology wins again.

Tron / Tron: Legacy Blu-Ray 3D + Blu-Ray 2D + DVD + Digital Copy 5-Disc Set
Tron and Tron: Legacy are also available separately on Blu-Ray.
Aspect Ratio	Tron: Legacy: 2.35:1 and 1.78:1 / Tron: 2.35:1
Audio	Tron: Legacy English DTS-HD Master Audio 7.1 surround English Dolby Digital 2.0 surround French Dolby Digital 5.1 surround Spanish Dolby Digital 5.1 surround Tron English DTS-HD Master Audio 5.1 surround French Dolby Digital 5.1 surround Spanish Dolby Digital 5.1 surround
Subtitles	English
Supplements	Tron: Legacy Disney Second Screen The Next Day: Flynn Lives documentary (45 min.) “Launching the Legacy” featurette “Visualizing Tron” featurette “Installing the Cast” featurette “Disc Roars” featurette Daft Punk “Derazzed” music video Tron “The Tron Phenomenon” featurette “Photo Tronology” featurette Audio commentary by director Steven Lisberger, producer Donald Kushner, producer and visual effects supervisor Harrison Ellenshaw, and visual effects supervisor Richard Taylor. The Making of Tron documentary “Development” featurette “Digital Imagery” featurette “Music” featurette “Design” featurette Publicity materials Deleted scenes Storyboards
Distributor	Walt Disney Studios Home Entertainment
SRP	$39.95
Release Date	April 5, 2011
VIDEO & AUDIO
Simply put: Stunning. Both Tron: Legacy and Tron look and sound absolutely fantastic on their respective 50GB dual-layered Blu-Ray discs. Tron has an inherently dated look given the limitations of computer graphics in 1982, but I have never seen it looking so sharp, clear, and finely detailed. The presentation of Tron: Legacy is reference quality, with incredible detail and contrast that makes the image seem three-dimensional even if you’re not watching the included 3D disc. The film’s color palette, like the original, is purposefully limited to cool shades of blue, gray, and black, all of which are gorgeously rendered. Like The Dark Knight, parts of Legacy were filmed in the IMAX format, meaning that the aspect ratio changes at times from 2.35:1 to 1.78:1, which is done smoothly and effectively (some have complained about this, but I like the sense of the image suddenly opening up vertically to full the screen at crucial moments). Legacy includes a 7.1-channel DTS-HD Master Audio surround track that is completely immersive, especially when Daft Punk’s score reaches its various crescendos. You can feel the percussion vibrating in your bones. Tron is presented in DTS-HD Master Audio 5.1-channel surround, and it sounds better than ever, as well.
SUPPLEMENTS
The Next Day: Flynn Lives is a faux documentary that plays as a kind of middle narrative between Tron and Tron: Legacy by depicting the reactions to and events that followed Flynn’s disappearance in 1989. Although certainly intended for serious Tron fans, even casual fans will find it entertaining. In terms of behind-the-scenes production information, the Blu-Ray includes a series of featurettes, starting with “Launching the Legacy” (10 min.), which includes interviews with Tron director Steven Lisberger, Legacy producers Sean Bailey and Jeffrey Silver, director Joseph Kosinski, writers Edward Kitsis and Adam Horowitz, and star Jeff Bridges. Coolest of all, this featurette includes the entire three-minute “Presentation Trailer” that was created before the script was even written to sell Disney on the idea of a Tron sequel. “Visualizing Tron” is a 12-minute featurette on the how the film’s production design, special effects, and costumes were developed, with primary input from Kosinski (who starte" alt="Tron: Legacy [Blu-Ray]"> Tron: Legacy [Blu-Ray] Released in the summer of 1982 with much fanfare and disappointing box-office returns, Disney’s Tron has become, in the intervening ... UPI Sports Calendar for Saturday May 19 © 2012 United Press International, Inc. All Rights Reserved. Any reproduction, republication, redistribution and/or modification of any UPI content is expressly prohibited without UPI's ... Avengers sinks Battleship Friday ultimately earned $200.6 million abroad, meaning the two films might end up with rather similar global totals.) Universal will also be hoping that Memorial Day weekend will cushion ... 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U.S. Markets Enter a ticker symbol below: Featured Story UK's biggest insurer Aviva posts five per cent dip in term sales LONDON - Britain's biggest insurer Aviva, which parted company with chief executive Andrew Moss earlier this month, posted long-term sales of 7.5 billion pounds during the first quarter, down 5 per cent on the same period last year The first three months of the year saw a 5% drop in long-term savings sales and flat general insurance and health premiums, the company said giving few details on its bottom-line performance other than saying profitability was in line with targets. Deputy chairman John McFarlane said: "Although the economic environment remains uncertain, we have delivered a solid operating performance during the first three months of 2012 and profitability in both our life and general insurance businesses is in line with targets." Stating that the company has started the search for a new CEO both internally and externally, McFarlane said the exercise is expected to take the next six months. McFarlane stepped in as the interim chief after massive protests by shareholders over Aviva's annual pay report led to the abrupt exit of Moss. Reiterating his pledge to lift the group's financial performance, McFarlane disclosed that a strategic review of all the company's businesses is in the offing. He described the first quarter performance as "solid" and said profitability in both Aviva's life and general insurance businesses was in line with target Operating profits of the world's fifth largest insurance group for the first quarter were marginally down compared to the same period last year due to the sale of breakdown service firm RAC. Long-term savings sales were 7.5 billion pounds, compared to 7.8 billion pounds in the first quarter of 2011, while general insurance and health net written premiums were at par with last year at 2.2 billion pounds. The UK life business saw long-term sales increase 1% to 2.9 billion pounds, while life and pension sales, excluding bulk purchase annuities, increased 6%. UK annuity sales were slightly lower at 641 million pounds, compared to 645 million pounds last year. One of the leading providers of life and pensions products in Europe, Aviva's 1.3 billion pounds exposure to the troubled eurozone economies of Portugal, Italy, Ireland, Greece and Spain also continued to hit the group, as life and pension sales in Italy and Spain tumbled 23%. With its shares nearly 40% lower than a year ago, the group in its update on first quarter trading said its cash surplus was stable. 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