There was mention of the influx of young talent when they shipped the work for Roger Rabbit to London.

I listened to some animation podcasts in the recent months, with in-depth interviews with the new wave of animators responsible for the better films. Seems like a changing-of-the-guard thing, with the training programs provided by CalArts as well as the in-studio training programs. There were two factions, those in those training programs, and those that did their first work experience doing features or commercials with a few different European studios. They were brought in one way or another - sometimes Roger Rabbit (a project done by the European artists) and sometimes by chance, sometimes because it was their long-term goal to get into Disney. Once the Old Men retired, the new blood - and their passion and creativity - brought a lot of new ideas to the studios. And, though he fizzled out and made poor choices at the end of his career - Michael Eisner (with Katzenberg) should be commended for pulling all of these people together and letting them run with their ideas, instead of closing down animation like the previous guard had considered.

Palate is now thoroughly cleansed from the Tron debacle (I know, I"m out in the wilderness).

Three great contemporary movies (plus two great old movies) since then has me restored.

I heartily recommend any and all of 127 Hours, Black Swan, or The Fighter.

Hey Alex, all I saw for your Tron review was a short paragraph. Did I miss something longer?

Do read the longer version, I'd rate it as a spot on review. Overall the movie was less of a squeal or re-boot and more of a remake.

Spoiler

In response to your spoiler:

Perhaps if I saw the original Tron I'd think differently of this one. I see what Alex saw, and knowing Alex I'm not surprised by the review at all. Then again I'm a fan of the first Transformers movie. Show me some pretty lights, explosions and a bit of eyecandy and I'm happy.

I don't think 3-D is must do. We had a pre-movie warning that some scenes were filmed in 2-D and to leave your glasses on. I couldn't pick out those scenes because most of it looked to be in 2-D.

Moonie

Everything up the point where Sam enters the grid was 2D.

Yeah, everything in the grid was 3-D (I watched a fair amount with my glasses off just because with glasses on everything was frequently muddy). It wasn't always deeply 3-D (after all, frequently there was no significant background against which depth could be created), but it was 3-D.