Yes, of course I saw it again. I’ve been waiting for it since I was six.
1.) I think the “this movie has no plot” line a lot of people are using is unfair. It has a straightforward chase movie plot, for the most part: once Sam gets inside the Grid the entire movie is “survive until you get to X, then to Y, then to Z.” There’s nothing wrong with it, and the movie underlays the chase element with a nice dichotomy of Flynn’s relationships with his two “sons” (Sam and CLU). A more thorough explanation of Flynn’s within-the-Grid powers would have been nice so that the ending makes more sense, but other than that the plot is really very straightforward.
2.) A fairer complaint is that the information that drives the plot isn’t what people wanted. A common issue I’ve seen raised in many places is that there’s no mention of the internet or anything similar, no serious discussion of the revolutions in computing as it relates to the TRONverse, but instead some vague technobabble about the Isos. (Actually, the movie is correct in that abiogenetic digital life would in fact be a Big Deal, but it doesn’t really explain it properly.) This is reasonable and I can definitely sympathize with it. To which the only answer that can be made is: they didn’t want to make that movie. They wanted to make this one: a story about a long-divided father and son. The sealed system of the Grid as ruled by CLU simply doesn’t work with the internet, and if Flynn had been in digital form on the net he likely would have been able to talk to his son somehow.
3.) On a second viewing I really appreciate Jeff Bridges’ dual performance more. Shifting gears from maniacal, desperate-to-prove-himself CLU to Zen Kenobi Flynn couldn’t have been easy, but he really pulls off both roles; CLU’s cover of his own personal insecurity is particularly evident in Bridges’ body language, and the Flynn performance manages to be magnetic without sacrificing the essential techno-hippie nature of the character. He really manages the awkward bits of dealing with a grown son magnificently, too.
4.) Daft Punk’s score for the movie ranks in my top five artistic achievements in film for the year. It really is absolutely superb: it both matches itself to the story and stands up as a musical work in its own right to boot. They need to score more films.