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December 16, 2010


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Owain Wilson

I saw the original Tron in the cinema when I was 6 years old and hadn't seen it since, so me and my chums watched it again a few months back. We were taken aback at how terrible it was. It must be one of the clumsiest and incompetent big studio movies I've ever seen. To look at it's stunning, but to actually watch it's an endurance test. No drama, no excitement, no tension, no momentum, no nothing!

I have a feeling, which I think your review confirms, that Tron Legacy will turn out the same way.






Lex is still alive?

Glenn Kenny

Alive and well it would seem. That being the case, I should say I somewhat concur. La Reese really is cute as the proverbial button throughout the Brooks film. Not enough to provide a saving grace, but enough that it makes watching seem less like torture.


'Looker' (1981), 'Tron' (1982) and 'The Last Starfighter' (1984) -- all landmark movies in the evolution of modern CGI, but all also flawed and underwhelming.

PS: LexG? I don't wish you a lump of coal in your stocking for Christmas; I wish you a sack of shit.


She looks pretty darn delectable in that picture. A nice way to start my work day.

I'm never going to watch this movie, though.

brian p

no matter how bad this actually is it will never be as bad as 'Spanglish'

Pete Segall

There's something about Rudd's posture, Witherspoon's expression and the dollar sign over her shoulder that makes the entire image... unwholesome.


Did you say she plays... a baseball player? How would that work, being a female baseball player? I thought women only played softball.

Phil Freeman

>brian p: "Spanglish" had Paz Vega. So "Spanglish" wins.


I'll stick up a little for SPANGLISH, and not just because of Paz Vega (double entendre not intended, but I don't feel like rephrasing). I thought it was kinda cute, sort of like a sitcom by Renoir. Sandler seems uncomfortable in a couple of spots, like he's dying to break out into full Billy Madison shtick, but he mostly pulls it off. Tea Leoni, saddled with the least likable character in recent American film history, is fearless. The rest of the cast is superb. Some have found the film patronizing in a limousine-liberal way, but I think Brooks is really trying to get at something about cultural differences. His efforts are sometimes clumsy, but his earnestness is thankfully minimized by his flair for comedy. I also find his rambling structure rather refreshing amid the sea of formula that Hollywood usually navigates.

Of course, this makes me wonder if I might actually enjoy HOW DO YOU KNOW, but I'm not sure I'll part with the bucks to find out. Might wait for Netflix.

By the way, is Brooks like the worst ever at titles? TERMS OF ENDEARMENT ain't bad, but it's McMurtry. I don't know if AS GOOD AS IT GETS was Andrus' original title or not, but BROADCAST NEWS, I'LL DO ANYTHING and HOW DO YOU KNOW are bland and/or uninspired. Maybe SPANGLISH gets a partial pass for at least being offbeat and potentially off-putting.


Plus that sandwich in SPANGLISH looked awesome.


@jbryant: If I remember rightly, Andrus' original title was OLD FRIENDS, so maybe Brooks improved it just a bit....

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