A friend of mine recommended Tron Legacy for visual effects and so I watched it last night.
I would have stopped much earlier than usual but one point caught my interest. Let me explain why I think it didn't work for me other than that point though.
If I didn't know better I'd say the director and editor of Tron Legacy collectively sabotaged the movie.
Emotional reactions jump the shark in this film, from the opening of father and son throwing dire cliches at each other, and then there is the editing, which over and again (to the point of comedy) ignores mortal danger, at the expense of valuable seconds wasted on hackneyed sentimental gestures.
Jeff Bridges is a capable actor and yet he is so badly directed that he fails to deliver a convincing performance.
To be fair there are two interesting performances. One from the lead female role, actress Olivia Wilde who for the second time this month rescues a movie I'd otherwise have turned off. Once again Oliva leaves her co-stars looking wooden with her convincing performances, and to top it all off is extraordinarily attractive. I had exactly the same reaction to her first in Cowboys & Aliens where she demolishes far more seasoned actors like Harrison Ford and Daniel Craig and sizzles with sexiness.
Her first scene above isn't until the 46th minute and right from the git go she is flashing a sexy glance at the lead role who as you can see above, is so wooden (or stupid) he fails to notice that he has been rescued by a beautiful woman who has just removed her helmet. Instead our hero prefers to assume a state of don't turn around shock despite investing the beginning of the movie portraying himself as invincible, super smart and good looking too. His character schizophrenia is never really reconciled after this duality becomes evident and it's clear he's perfect for no more than 40 second Gillette commercials.
But the reason for blog post is that this movie is partly Stephen Spielberg produced and he never does things by accident. The Saturnalian Hexagon is vivid in almost every single scene I've screen captured here. This Includes details like the print on the glove above. The Hexagon is the key visual of the nefarious virtual environment that all the dangerous scenes are filmed in.
Every single portal, doorway, entrance and exit is a Hexagon and I can assure you that Stephen Spielberg is well versed in occultism enough to know that this is a reference to Saturnalia. If I didn't know better I'd say he's trying to say be careful of the virtual environment folks. That's where the danger is for humanity.
I say that because there's a specific point of 2D to 3D sacred geometry magic that Saturnalia worship is familiar with. It's a point of dimensional transition that I've elaborated on in my Saturnalia posts here and most specifically here. I urge you to consider my point. It's a serious one.
Despite all the tech-fetishism, the Movie is unequivocally direct with it's wind-in-the-hair ending of lovers on the back of a motorbike free from the digital matrix. As you can see Olivia Wilde who is experiencing reality for the first time, is fresh and natural while our lead male role wallows in a confusing mix of triumphant got-the-girl with wrinkled forehead-confusion and firm jutting shaving chin ready for the next commercial.
The point is made emphatically in the movie's concluding scene. Nature is the finest and most beautiful technology we will ever have or know. We are not only on the wrong path with tech-fetishism of iPads, iPhones and shiny screens but we are leaving ourselves vulnerable to Saturnalian manipulation. It's the creme de la creme of cosmic occult control that I have learned of since stumbling down the rabbit hole.
I neglected to mention one other outstanding performance. Michael Sheen is a blistering Techno drag/fag queen of virtual world society. His star quality and stage acting experience is perceptible even when not facing the camera. Have I ever mentioned that Hollywood only ever portrays Brits as homosexual, villains or bumbling intellectuals? Yes I did didn't I.
