Given the leaps and strides made in technology in the last 15 years, not to mention the constant conversations about the regulation of computer tech and artificial intelligence, it is really surprising that it has taken this long to get another Tron sequel. That’s not to say that Tron: Legacy was some undeniable phenomenon, or that Tron is some extremely bankable franchise for Disney. Legacy did fine at the box office, but definitely was a bit of a critical disappointment. I was among the disappointed. For all of its techno beauty and its absolutely killer Daft Punk score, Legacy is a film that I never want to revisit, as I think it grinds to a halt the moment they stop racing lightcycles.
For all of its flaws, Tron: Ares at least rectifies that mistake, as this threequel to the 1982 cult classic is plenty busy with ideas and action. Director Joachim Rønning, who has been on the Disney payroll for the last decade with his contributions to the Pirates of the Caribbean and Maleficent franchises, has made a movie that at the very least matches the thrills of the Lightcycle ride at Disney World. Here’s the thing about that ride, though; it is an abnormally short one. You get on the lightcycle, you ride around for a few seconds, and then it’s over. That’s a good metaphor for Tron: Ares. It is plenty entertaining in the moment, but those thrills aren’t really meant to have a lasting impact.
Though it is not strictly speaking “mandatory” to watch (or rewatch) Tron and Tron: Legacy before you watch Ares, I recommend a refresher. There are many direct callbacks to both films, particularly the original (several notable shots from that film are recreated). The refresher may be most beneficial for anyone who forgot about the long-gestating beef between the Flynn family at ENCOM and the Dillinger family, who have been rivals and runner-ups to ENCOM since Ed Dillinger tried to steal the work of Kevin Flynn (Jeff Bridges) all those years ago. As Ares begins, the feud between ENCOM and Dillinger Systems is very much alive, though now the battle is being fought over the race to bring the artificial world to Earth.
Julian Dillinger (Evan Peters) has constructed his own grid, policed and secured by the state-of-the-art master control program Ares (Jared Leto). Operating as an ultra-intelligent soldier in and out of the grid, Julian has found a way to bring Ares, his top lieutenant Athena (Jodie Turner-Smith) and a number of vehicles and weapons from the grid into the real world. However, they can only exist in our reality for half an hour before they “derezz” into temporary oblivion, regenerating back inside the grid. The key to unknown wealth is permanence.
The current CEO of ENCOM is Eve Kim (Greta Lee), who is searching through Flynn’s files for that same permanence code. She seems to have less militant intentions with her pursuit of permanence, influenced by the last wishes of her sister. Eve and Julian’s professional rivalry becomes much more perilous when Julian crosses a line, sending Ares and Athena after Eve and the code. After a thrilling lightcycle chase through city streets, the movie really starts to focus in on the relationship between Ares and Eve, as Ares begins to gain his own sentience and free will in the way that all programs eventually do.
The rules of Tron: Ares are not worth giving yourself a headache over, as there feels like a lot of hand-waving to the specifics of the tech here. Some of the permanence stuff really confused me, particularly in contrast with some of the key plot points from Tron: Legacy. The characters are mostly flat and unmemorable, and the same can be said for the dialogue. The movie wants you to chalk up most of its inconsistencies to the changes in technology, but that doesn’t pass the smell test.
The performances don’t add much. Leto’s alien and off-putting qualities as a performer make him a better choice for Ares than expected, but those same qualities and a lack of charisma makes it challenging for you to make any sort of empathetic connection to him. He has no chemistry, romantic or platonic, with Lee, who really struggles with a role that feels like it could’ve been plucked from a number of other poorly written films. All of the intrigue in the acting department comes from Dillinger Systems. Peters is really going for it as the petulant wonderboy of his grandfather’s company, and he has a number of compelling clashes with his disapproving mother, played with a stern maturity by Gillian Anderson. Notice I didn’t mention Jeff Bridges here; let’s just say, there’s not much to say.
Rønning said that he wanted the Dillinger grid to feel familiar yet new, and I think he’s succeeded in giving this movie its own visual identity. The most obvious choice is to light the film up with tons of reds, a stark contrast to the iconic blues of past Tron films. It’s a bit on the nose to have the sinister company’s grid lit up in devilish colors, but it makes the film feel like its own and not a rehash. Also crucial is the way the movie’s story weaves in and out of the digital world. The combination of chases and action scenes–hand to hand combat between blue and red programs on the grid, dogfight between programs and helicopters in the real world, submarining chases through a river of code–keeps you engaged and ready for whatever is coming next.
I saw the film in IMAX 3D, which is a format that I would recommend if you are even a little interested in the film. The aspect ratio balloons for every big action beat, making the pixelated spectacle feel massive and overwhelming. The same can be said for the booming score by Nine Inch Nails. Think of Daft Punk’s electro work for Tron: Legacy, but with a little bit more of a grungy sound. Trent Reznor and Atticus Ross have been top-tier composers for years, but the decision to include the entire band was a great one, as this is easily the highlight of the film.
Tron: Ares is very much fast food sci-fi, presenting itself as something more intellectual than it actually turns out to be. Luckily, it’s a feast of visual spectacle, a lightshow of gorgeous special effects and well-choreographed action. If you liked Tron and Tron: Legacy, you will enjoy this one as well, which is a good sign for the movie’s many sequel teases. If Disney has its way, it won’t take this long to get back to the grid.
Tron: Ares opens in theaters this Friday.
