Fifteen years ago, then-newcomer Joseph Kosinski gave us one of the most visually spectacular sci-fi movies ever made in Tron: Legacy. The special effects still hold on well even by today’s standards, going as far as eclipsing many current effects-laden blockbusters. The soundtrack equally plays a vital part, giving the sequel an unforgettably sonic experience, thanks to Daft Punk’s infectiously rhythmic electronic beats. Shame that the iconic French electronic duo has called it a day in 2021, leaving a void in the EDM industry. It’s hard to imagine a Tron movie without Daft Punk, which in turn, got me worried about the third installment.
But I’m glad Tron: Ares has Nine Inch Nails doing the music score and the soundtrack album. Instead of trying to replicate a similar Daft Punk-style soundscape, the music architects behind Nine Inch Nails – Trent Reznor and Atticus Ross – do an impressively distinct job in giving the third Tron movie a bass-heavy, industrial rock score like a shot of adrenaline. The pulse-pounding groove hits the spot right from the start, with a prologue summarizing the timeline from Kevin Flynn’s (Jeff Bridges) younger days to the subsequent takeover and change of a new management between the never-ending rivalry of the two tech giants, ENCOM and Dillinger Systems.
For the latter, Julian (Evan Peters), the grandson of Edward Dillinger Sr. (David Warner, who appeared in the 1982 original), now oversees the company with his latest invention: an advanced AI security system in the form of a digitalized humanoid code-named Ares (Jared Leto). Ares serves as the Master Control, who guards the Grid and follows orders from his user, Julian. Joachim Rønning and screenwriter Jesse Wigutow, who previously wrote a couple of episodes for Disney+’s Daredevil: Born Again, approach the story in a refreshingly novel way: What if the digital world from the computer program is brought to life in the real world?
It’s a cool concept, at least for the Tron franchise breaking out of the norm for a change. This is especially true when Julian introduces Ares, as well as other cyber soldiers and vehicles, that transform from a generative, 3D printer-like laser technology. AI programs like Ares are completely expendable, meaning if he “dies”, Julian can simply generate another one. Except with one major setback: Ares and the cyber soldiers, including the second-in-command Athena (Jodie Turner-Smith), are incapable of lasting in the real world for more than 29 minutes. Once the time is up, they will be crumbling into pieces.
But Julian has a solution, and that is getting his hands on the Permanence Code, which allows him to sustain his digital creations for an indefinite time. Unfortunately, his rival, current ENCOM CEO Eve Kim (Greta Lee), somehow manages to obtain the code first. After Julian finds out about it, he wastes no time in deploying Ares and Athena to retrieve the all-important code from Eve.
The Tron movies are known for being ahead of their time, notably the groundbreaking original that explores the dark side of computer technology and, of course, the artificial intelligence system. But somehow Tron: Ares breaks the rule by turning the movie into a chase film. Fans of the first two movies expecting Rønning and Wigutow to delve deeper into the current state of the AI technology would probably be disappointed by Tron: Ares’s surface-level storytelling. It was a missed opportunity, especially after waiting fifteen years since the last movie.
And yet, Rønning manages to keep Tron: Ares intriguing enough with his assured pace and a genre know-how direction in blending populist filmmaking that makes you feel like you are watching a summer movie blockbuster. I enjoy the first half the most, where the movie gets up to speed before thrusting the audience in the middle of the action sequence. The chase scene is undoubtedly the highlight here, as Ares and Athena — both clad in matching red-and-black light suits – zooming and zig-zagging their neon-lit light cycles past the traffic around the city while on pursuit of Eve’s motorcycle.
It isn’t just the thrill of the chase that looks immersive on IMAX 3D, but also the way Rønning emphasizes the striking contrast between the night cityscape and the sight of the bright, red strips of trails that emerge behind the speeding light cycles. Coupled with Nine Inch Nails’ score, Tron: Ares is a visual and aural feast that every budget is well-spent on for this high-profile production.
But as much as I appreciate the entertainment value of Tron: Ares, there’s another side of the story that falters the most. Beyond the chase-film trope, the movie tries to give Ares his own Blade Runner-like character arc. Leto’s character is initially depicted as an AI super soldier who just obeys orders, but from the moment he appears in the real world, he begins to develop feelings. The feelings then expand into something more intricate, notably after he learns more about Eve’s past. Curiosity exists within his conscience, before experiencing what it’s like to be human. Such an arc is nothing new, but I wouldn’t mind if the character resonates well.
Too bad this isn’t the case here, especially with Leto’s deadpan acting looking awkward. Something is just off about his performance here, and it also doesn’t help when there’s little chemistry between him and Greta Lee’s Eve Kim. At least the latter fares better, and the same also goes for Evan Peters and Jodie Turner-Smith, who both deliver decent support as Julian and Athena. A few shortcomings aside, Tron: Ares remains an entertaining cinematic experience, and don’t forget to stick around for a mid-credits scene.
