Tron: Ares Review - Plenty of spectacle with a phenomenal soundtrack keeping afloat a lackluster story

Chase Gifford
Oct 8
5 min read

“It has become appallingly obvious that our technology has exceeded our humanity.” - Albert Einstein

In 1982 Tron premiered. When it was first released it was met with mixed reviews as critics praised it for its innovations in computer generated imagery (CGI) but slammed it for having a confusing and incoherent storyline. It was especially difficult for viewers who were not familiar with computers and since personal computers were not yet commonplace that was a large portion of the United States specifically that likely felt lost by the premise of a computer generated reality.

As with most things, time changes perspective. It’s now regarded as a classic and a visionary work that changed cinema and visual effects forever. It would seem this is the destiny of every Tron movie as Legacy, the sequel released in 2010 wasn’t well received during its initial release either. It was also met with mixed reactions calling the film visually stunning but features a weak script. Now, more so with fans than critics, Tron: Legacy is in the same company as its predecessor as its acceptance as an underrated gem or misunderstood masterpiece has grown over time.

And now, fifteen years later, we are being introduced to Ares. And much like the previous two, Ares is chocked full of visual splendor while mostly forgetting to include a coherent storyline. It completely throws out any established characters with the exception of Jeff Bridges as Flynn and the presence of David Warner as Ed Dillinger.

It lackadaisically removes any presence of Sam Flynn and introduces an entirely new story with new characters. It broaches subjects like unfettered artificial intelligence and its place among humanity. It skims the surface of the impermanence of life and the beauty of such fragility. But instead of delving into these topics in any meaningful way it pretends to be a story that’s as deep as it is visually arresting and it’s mostly nothing more than a facade. I trust much like the previous two, Ares will grow on me.

However, for all of its shortcomings it has many other elements to genuinely appreciate. Visually it is quite outstanding combining the brilliance of a modernized grid with a mixture of a fictional Silicon Valley-like cityscape. It’s advanced, glossy, and immaculate from an outside perspective, often contrasting the illicit activities going on behind closed doors within the headquarters of a massive tech company. Perhaps this is its most profound aspect demonstrating that filth comes in all forms, even at its most flawless and untarnished. A kind of commentary on technological advancement often replacing morality or concern for the human condition.

Even as I type this I’m already beginning to appreciate the less obvious aspects of a seemingly otherwise forgettable storyline. I think time will only bring a better understanding of what this movie intended and possibly a greater acceptance of what it does well and finding the truth in the more muddled narrative elements. We shall see.

Tron: Ares takes the repeated narrative of a human, or user, entering the world of The Grid and flips the concept on its head. In Legacy, Clu desperately tried to reach our world only for Flynn to reintegrate with him and destroy not only Clu but his newly acquired army as well as any chance of Flynn leaving his digital prison. This takes the next step and introduces this artificial reality to our own and what that just might look like at its most extreme. Of course none of this would be possible without the influence of a Dillinger puppeteering everything from the shadows. I mentioned unchecked technological advancement, well here is the driver and ultimate curator of the modern Grid, Julian Dillinger. Every bit the psychotic megalomaniac his grandfather was; Ed would be proud.

Who or more aptly, what, is Ares? It is the security program tasked with protection of the Grid always striving for unknowable perfection. Much like Clu, Ares’ very existence is destined for chaos its creator never could have anticipated. Ares is a flawed program that will begin to question its existence, its overall purpose, and what it truly means to be free and maybe even what it means to be human.

Beyond its visual strengths, the musical score, composed by Trent Reznor and Atticus Ross is a phenomenal feat of operatic, electronic euphoria replete with industrial stylings, disquieting ambiance, and unconventional sonic outbursts with hints of 80s synth. With a massive visual presence on an IMAX screen, its equally colossal soundtrack provides a wholly immersive experience.

I often say the Vin Diesel led action movies titled xXx and xXx: Return of Xander Cage are what action movies would look like if they were created by MTV. It’s less offensive and aggressive with Tron: Ares but the sentiment still stands. Lacking in depth of story, often opting for action and spectacle, Ares has long bouts of music video syndrome as if MTV produced an action/sci-fi about artificial intelligence while never forgetting their target audience are the same mouth breathers that enjoy Jersey Shore. I sound borderline schizophrenic teetering between loathing this movie and appreciating it regardless of its shortcomings. I don’t know, maybe I am nuts.

Ultimately it comes down to this – Tron: Ares does a lot of things right. It is pure eye candy with a huge musical score. On an IMAX screen with a great sound system it’s mostly a worthwhile spectacle. Its story elements skim the surface of interesting topics, most quite timely, but they never go beneath into the depths of those very same ideals. Its characters are rather forgettable featuring its titular character played by Jared Leto giving a mostly rigid, robotic performance. It would make sense for his character to develop from rigid program to more human as he discovers his place in this world but it never goes beyond him just suggesting genuine growth.

The protagonist, Eve Kim, is serviceable but left me wondering why this couldn’t just be a continuation of Sam and Quorra’s story as he discovers his place at the head of Encom and her as she discovers a whole new world beyond the Grid. To explore the sudden emergence of the ISOs would have been far more interesting. Especially if the Dillingers ever discovered their existence. It also seems conflicted, often trying to not necessarily retcon Legacy but to push it aside rushing through what happened and why this new story has taken hold and then trying so desperately to include elements of its predecessors for nostalgic reasons and potential sequels featuring prominent characters from Legacy. It’s as if they included a failsafe should audiences reject this new storyline. They now have a means of returning to the last time this all worked. Like a system restoration for the entire franchise. For fans of the first two films, you’ll likely appreciate Ares’s strengths but I think it will mostly turn away those unfamiliar with the world of Tron and its history. For me, I hope I’m right and it grows on me. For the moment though, I’m stuck somewhere between loving it and loathing it.

P.S. To the director of Tron: Ares – The camera can sit still. It doesn’t have to constantly be in motion trying to give us all motion sickness. Just saying.