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Tron legacy

There apparently was in the 80s, a film produced by Disney Studios, which had a technological revolution: Tron, the first feature film to use computer imaging to design a building, fully virtual world! Although we have escaped at the time, today we find her offspring: Tron inheritance.

The story chronicles the reunion of Sam ( Garett Heldund ) with his father Kevin Flynn (Jeff Bridges ), a designer of genius locked up for 27 years in the virtual world he created. Passing through a hatch located in the false floor of an arcade game, Sam arrived in a world marked by white and red neon. No time to breathe, he's captured by four mermaids dressed with mechanical movements and swung into an arena where curious characters shapers clash by throwing Frisbees Glow in the cheers of an ecstatic crowd. Sat doing well, he knock out the pixel, all the characters he faces are indeed computer programs disguised in human form. Sat believed then recognize his father in the guise of the program Clu 2.0. It is the Avatar program's cantankerous father ... Rescued by Quorra ( Olivia Wilde, the number 13 by Dr. House), digital goddess, he will finally find her father, a kind of hermit who hears the sound of clouds in a psychedelic universe (he is suspected of having eaten too many mushrooms).

Three things strike in memory Tron made by the novice Joseph Kosinksi and produced once again by Disney. The first, the visual world, entirely light, neon white mark out roads and costumes, are evil for their redder colors and the background of this universe of straight lines is a black jays opaque turning blue coldness of death. The care taken in these sets, costumes, bikes and futuristic vehicles is a source of satisfaction to the eye. Special effects that have been entrusted to Digital Domain of James Cameron are reflective of the structural envelope of the film successful. After the eye, the ear that is marked by a soundtrack composed entirely by Daft Punk (also appearing behind the decks at a nervous sequence of the film). If it prints the film's atmosphere of constant dramatic tension, it also has the disadvantage to be a little loud and give the feature the appearance of a large clip tribute to DJ duo. The third thing is that captures the low scenario. The ambitious scope of the shape, energy, money spent (not less than 13 million just for the costumes) have been detrimental to the bottom. It's so square it becomes a little jerk. Passing the fact that there is an esoteric fantasy Matrix where one retreats into his own inventions, the peak of the plot seeing confront the designer and his program is despairing of formality banality. Attempts to infuse emotion into the frame are equally futile.

There is not really a revolution with this legacy Tron. The visual effects are stunning, almost monochromatic envelope is just as, even though it's hard to imagine a computer circuit, there is a vertical, linear figures, curves and straight lines rather startling . However, it is necessary to make a good movie, the correlation of two concepts, the combination of substance and form united in a single expression. While the story itself is often an excuse to create but then it becomes a handicap as it ridicules a little formal demonstration. Would that the vision of the cultural heritage of Flynn condensed into a row of books or aged by the time the original myth of the genesis through apple which looks at his reflection Clu 2.0, both of scriptwriting are really indicative of the false memory universal digital obliged to have the founding events of humanity that fragmented view.

Released in France: 09/02/2011

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* * Lord of The WB

The least we can say is that WB the Lord is not complacent and that a film is not necessarily going to silence criticism and controversy about Travellers and their presupposed mania pilferage. Jean-Charles Hue was adopted by a group of Yenish, a community of travelers. And having done some documentaries on them, he wanted to go further and propose a feature referred to the border between documentary and fiction.

The hero of this profoundly original film are not actors, what are the family members Dorkel living in caravans, call the parking place and spend most of their time roasting sausages on grills fortune. At the heart of that community standards, the law runs Loved buckshot or for duels. Here we expose its power by spinning the wheels of a BMW that has inevitably fly. Frederick Dorkel , the story's central character is a petty criminal in 'scarface' respected by the community. He steals cars, calls everyone "my buddy," dream of having a gun, and parley with his wife to see if has the right to be pissed with the guys in the back of the trailer. He leads a gypsy life right in the photograph, encrusted in a dull and rigid reality. One evening, Frederick visited by an angel, a white light and intense invades the screen to appear. A white dog breed pitbull is entrusted to him by the angel that he initially wanted to remove rust. Fred decides to turn to God, something quite natural for a Yenish who lives surrounded by a religious fervor preached by ex-convicts.

Jean-Charles Hue has affection for the characters of his film, none of them is a professional actor. He must somehow cope with their lack of vocation. If Fred has the necessary stature, charisma also his cousins, his brothers and parents, not really. If the scenario confronts faith in the reality of a life based on the cycle of theft, its spiritual significance is approached with a little too lightly or naivete. The realism of the documentary aspect is successful despite the difficulty of understanding all the dialogue (but could have been the caption without label), the symbolic aspect of fiction, the appearance of the angel the figure of the Redeemer whose purity dog's white coat is opposite to what is known pit bulls, the WB's black top, immaculate one of the end ... all that is coarser, more borrowing, more academic too. No offense to photograph racy, always in search of a saturation of the frame and an overflow of the shadows and reflections on puddles of oil and rust mirrors of time.

The violence of the Lord WB is religious. Frederick can fundamentally change despite the call of faith. His environment, his friends, his family did not want to see evolve. Religion brings the drama because it fits with too much life, presence and artificial breaks taboos and achievements, it requires a lot of sacrifices to happen. The film Jean-Charles Hue is furious worth atypical but too rough in his direction of actors to be really attractive. One might be to believe in the middle of a story of striptease in which a group identified X has tamed the camera to point to forget it and decided to play to represent his lifestyle at the best price exaggeration. An episode of striptease mystical and rare as some were.