The original 1982 Tron film was released amidst arguably the greatest summer movie season ever for the sci-fi genre, wedged in between E.T., John Carpenter’s The Thing, Blade Runner and Star Trek 2: The Wrath of Khan. The film may have aged the poorest in terms of visual splendor, but the earnestly corny cult classic following a video game programmer that gets sucked into a digital universe has shown to be slightly ahead of its time with its fears of artificial intelligence ruling modern technology and therefore, our world. The original film was a fun relic of the analog-era 80’s that got a much-needed face lift in the form of the 2010 reboot Tron: Legacy.
Directed by a fresh-faced Joseph Kosinski, before going on to direct such worldwide phenomenons like Top Gun: Maverick and this summer’s F1, the reboot may not have bolstered a memorable screenplay or enticing new characters, but it’s reintroduction into the world of Tron has lingered in the pop culture lexicon. Greatly aided by cutting-edge visual effects and an iconic score by Daft Punk, Legacy wasn’t the global sensation the studio had hoped for in the wake of James Cameron’s Avatar, but it was successful enough to warrant another revisit to the IP. Despite an animated series, video game tie-ins and a kickass theme park ride, a film follow-up has finally resurfaced after 15 years. Despite the lack of breakthrough filmmaking or noteworthy narrative apart from “Tron in the real world”, the latest chapter in the Tron franchise is a non-stop barrage of dazzling visuals and exceptional technical wizardry.
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Ares (Jared Leto) is a highly sophisticated, state-of-the-art “Master Control Program” created by Julian Dillinger (Evan Peters), tech bro CEO of Dillinger Systems. After taking over for his mother, Elisabeth (Gillian Anderson), after the company has shifted towards weapons manufacturing, Julian is set on creating an arsenal of AI super soldiers from “The Grid” and bringing them into our world for the bidding of the greater military industrial complex. Using 3D-printing laser beams to bring his programs into reality, Julian is only able to bring Ares, Athena (a menacing Jodie Turner-Smith) and others AI warriors to life for 29 minutes before they self-destruct and return inside “The Grid”. Why 29 minutes you might ask? Who knows. Best not to bring logic into a Tron movie. However, Julian’s bitter rival, fellow tech company ENCOM and their CEO, Eve Kim (Greta Lee), have been searching for the “Permanence Code”, a piece of software designed to allow any being inside “The Grid” to exist in our world forever. It is believed that the still-missing Kevin Flynn (Jeff Bridges) is the one who designed the code and Eve just might be the one person who knows how to access it. Julian sends Ares on a mission to hunt down Eve, but the super soldier begins to have a crisis of consciousness upon learning that he is “100% expendable” and instead places his trust in the CEO, vowing to protect her in hopes of living a human life. As Julian learns of Ares’ betrayal, he enlists Athena and her army to track down and destroy the “Master Control Program” and take the code for themselves.
If this sounds like a lot of complicated gobbledygook, that’s because it is. Yet, the third entry in the Tron franchise manages to move at a brisk enough pace that it doesn’t wallow in complicated specifics of its nonsensical plot. Seeing as though both previous Tron films were essentially glorified tech demos for their respective eras, Tron: Ares doesn’t have the same “wow” factor given the technological advancements of the past decade and a half, but director Joachim Rønning still delivers a fairly thrilling spectacle of visual effects, cinematography and cool-as-hell set pieces. The bold color palette, emphasizing harsh reds and vibrant orange hues, differentiates itself from the previous installments, with cinematographer Jeff Cronenweth (The Social Network, The Girl With the Dragon Tattoo) making a meal out of the neon-drenched setting.
Rønning, whose filmography ranges from Pirates of the Caribbean: Dead Men Tell No Tales and Maleficent: Mistress of Evil, isn’t the most inspired choice for such a film. However, the Norwegian filmmaker gives his most confident directorial outing yet. There is real craft and artistry behind the film’s most epic sequences. A Lightcycle chase through downtown city streets is an absolute adrenaline rush that utilizes practical car stunts and CG-enhanced tech elements to winning effect. Needless to say, Tron: Ares is worth the extra dollars for a 3D or premium screen ticket. Combining elaborate practical set designs and costuming with eye-popping visual effects, Ares feels grandiose and thoroughly immersive. Its Terminator-style framework drives plenty of narrative momentum with a ticking clock element that suitably amplifies the tension.
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Nothing in the film is quite as propulsive, however, as the bravura score by Nine Inch Nails. Very few film scores come close to the ass-kickery of Daft Punk’s Tron: Legacy work, which is why Trent Reznor and Atticus Ross don’t even attempt to replicate it. Infusing their trademark industrial soundscapes with piercing synths and bass-heavy percussion makes them an ideal fit for a film that merges both the digital world and reality. Their score, aided by a beefy sound mix, adds a greater level of exhilaration to the film.
The script, credited to Jesse Wigutow (Daredevil: Born Again), is nearly wall-to-wall exposition dumps and tech mumbo jumbo, but the cast makes these wacky lines of dialogue sound as natural and coherent as possible. Jared Leto’s performance as the titular AI soldier is suitably robotic as Ares is a cold, detached humanoid incapable of truly understanding human emotion. That said, the flickers of life Leto gives, particularly in the discovery of his love for Depeche Mode, is well-tuned. Greta Lee, who is arguably too good for this kind of material, makes her flat, underwritten character relatively compelling. Jodie Turner-Smith is an effective villain that fits the high-tech world of Tron like a neon-coated glove. You’ll wish the film had utilized her more, especially in the final act. Fans looking forward to Jeff Bridges’ return as Flynn might want to scale back their expectations as Flynn returns in a glorified cameo that, while fairly satisfying, does not equate to much screen time.
What ultimately hinders the experience is an anti-climactic ending that brings down the narrative momentum. The climactic resolution simply feels scaled-down, as if another 20 pages of the script were condensed in order to meet a two-hour runtime. Making matters worse is an egregious case of sequel baiting that leaves the viewer with a sense of cynical unfulfillment. At least it doesn’t end with a “to be continued” card.
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Tron: Ares is an extravagant sensory overload. While much of the plot focuses on expository gibberish that will likely go over the heads of viewers not immediately familiar with the original films and it has hardly any depth or tangible questions regarding the future of AI, much can be forgiven for the sheer amount of robust spectacle on display. Director Joachim Rønning shows a firm level of craftsmanship, keeping this tightly-paced thrill ride moving from one eye-popping sequence to the next. This third Tron film may ultimately feel slight, but it’s a propulsive and technically exquisite big-screen experience.
Tron: Ares is now playing in theaters.
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