Director Joachim Rønning takes fans once more into the grid with Tron: Ares, the third chapter in the cult Sci-Fi film series that started in 1982 with Steven Lisberger’s groundbreaking original. While Jesse Wigutow’s screenplay (from a story by Wigutow and David DiGillo) doesn’t travel new ground and uses the heck out of many well-worn clichés, this entry is a visual and aural delight complimented by some exciting action.
Full disclosure, Lisberger’s original didn’t have the strongest of stories, but was rich in invention. Tron was a great film, but its strengths were found in its groundbreaking computer-generated special effects and innovative world-building. Moviegoers had never seen anything like it and 43 years on, it is a film that still hits one in the “wows”.
Coming 28 years later, director Joseph Kosinski gave fans of the first film something they had been hoping to see for over two decades; a sequel. Tron: Legacy stayed true to the original’s lore and made great use of the advances in computer FX. Another visual stunner with fantastic action scenes, the film’s screenplay went stronger on plot.
Tron: Ares keeps the winning tradition of big visuals and thrilling action that make up for a thin script. While the story settles for a Logan’s Run arc molded for the world of Tron, Rønning never lets the film rest and keeps a strong pulse of excitement throughout.
The film sets its focus on two tech companies who are battling for control of the future. Eve Kim (a somewhat miscast Greta Lee), is now in control of the tech company ENCOM. She and her colleagues Seth Flores (Arturo Castro) and Ajay Singh (Hasan Minhaj) are trying to revolutionize the modern world through research on how the virtual world could be designed to manifest into ours. Their goal is to provide natural resources to people who need them. Humanitarian aid is the mission statement.
Julian Dillinger (Evan Peters, overdoing it) is the grandson of the villainous Edward Dillinger played by David Warner in the first film. Julian’s grandfather was ENCOM’s senior director who stole Kevin Flynn’s (Jeff Bridges) work. Warner was also the evil Sark, Dillinger’s representation inside the computer system. Equally evil and even more dangerous, Julian sets out to fill his late grandfather’s role as supreme villain. Military contracts and destruction are to be his pot of gold.
In his quest for power, Julian gives a group of potential investors a glimpse into what his company can do; bringing military program Ares (Jared Leto) into the real world through a Permanence program. The money men are impressed, but Julian hides the fact that his programs last less than an hour once in our world.
One of the film’s most interesting qualities is too underdeveloped. Ares (Jared Leto), begins to question his orders and his master’s reasoning. As these new feelings arise within him, he becomes curious about humanity. In turn, Ares wonders if he may be capable of experiencing what it means to be human. All of this is existentially stifled, with only a few lines of dialogue to explain. Leto does what he can to sell Ares’ transition. The actor looks great (his long, jet black hair pulled behind him and falling onto his black and neon red armor) and he does well in his action scenes, but the change from program to sentient being needed to be better explored.
Gillian Anderson is absolutely wasted as Julian’s mother, Elisabeth. The actress has only a few scenes and is forced to stand around, looking stern and occasionally throwing a side eye towards her son.
Jodie Turner-Smith has a good role as Ares underling, Athena. Smith is fierce and menacing without resorting to over-the-top theatrics, making the character more dangerous by the minute by just a look or tonal adjustment. Once Ares tries to stay in the real world, Julian orders her to hunt him down. While the actress gets some good (but too quick) moments of combat, Smith should have been allowed more. Athena is a warrior. Let her fight!
Once Athena comes after Ares and Eve, director Rønning turns the second half of the film into an action packed, retro 80s ride. Ares digs Depeche Mode and the decade in which they were born. The movie has fun with his 80s references and with taking fans into the aura of the original film.
As film trailers seem to feel that spoiling fun surprises for movie audiences is an aphrodisiac, it is already widely known that Kevin Flynn makes a return. It is always great to see Jeff Bridges on the big screen (in anything) and deep Tron fans will get a kick out of his no-longer-a-surprise cameo. It’s short, but effective. While he might color this incarnation of Flynn with a few sprinkles of “The Dude”, that’s just Bridges. Roll with it, man.
Trent Reznor and Atticus Ross (as Nine Inch Nails) complete the package with their driving electronic compositions and a few new NIN songs. Their score is mesmerizing and drives the film like an industrial power charge, while Jeff Cronenweth’s cinematography colors the film in stunning dark neons and a sleek sheen. The scenes where Light Skimmers zoom down the city streets leaving their Light Trails slicing cars in two and grand shots of massive Recognizers flying through the skyline are incredible.
Whatever the problems found in the screenplay, this is one stunningly designed motion picture!
Tron: Ares should not work. What made Steven Lisberger’s 1982 classic so special was the brilliant idea of a human going into a computer world where programs fight against their oppressors. Bringing them into our world isn’t as exciting an idea, but Joachim Rønning makes up for it in intoxicating visual palettes and inventive action sequences.
If I am asked if this is a worthy sequel and good entertainment, I can answer as “Bit” would answer; “Yes. Yes-Yes-Yes!”
True fans will know.
Tron: Ares
Written by Jesse Wigutow (from a story by Wigutow and David DiGillo)
Directed by Joachim Rønning
Starring Jared Leto, Greta Lee, Jodie Turner-Smith, Evan Peters, Gillian Anderson, Hasan Minhaj, Arturo Castro, Jeff Bridges
PG-13, 119 Minutes, Walt Disney Pictures, Paradox
