TRON: Ares

If a movie franchise has nothing especially new to say about itself or its mythology, perhaps it’s best if it refrains from trying to say anything at all. Such is the case with this latest installment in the “Tron” series of would-be sci-fi screen epics, a nondescript, underwhelming effort that, regrettably, disappoints in myriad ways. What starts out as a generally unengaging tale about AI corporate espionage that straddles life in the real world and cyberspace improves somewhat as it moves along, particularly in the back half when the connection to the original 1982 release becomes more apparent (and more compelling). But what precedes that development is uninspiring, even if it is visually dazzling to look at. Its attempt at conveying a cautionary tale about the potential dangers associated with artificial intelligence (not to mention the greedy, dimwitted purveyors of this dubious technology) may be laudable for its nobility and sincerity, but it’s not especially new at this point given the many other cinematic releases that have already tackled this subject (and better), perhaps best seen in several of the “Terminator” offerings. Arguably, the biggest problem here is an anemic script that generally tries mightily (though not always successfully) to link this picture’s narrative with its seminal roots, but it frequently feels as if it’s reaching for a suitably sufficient tie-in. That’s particularly apparent where a key story element is concerned, one that has been alluded to in previous installments but that is brought up directly this time – and that should have played a far more significant role in this iteration but that, sadly, is largely glossed over when introduced, receiving only scant treatment thereafter. The casting also leaves much to be desired, with gifted character actor Jared Leto being thrust into a part where his performance is about as appealing as a lukewarm bowl of porridge (with few prospects for greater, more meaningful depth and development); protagonist Greta Lee turning in a portrayal lacking in passion, interest and realistic believability; and Jeff Bridges essentially making an extended cameo that he could have just as soon phoned in (though, thankfully, Jodie Turner-Smith and Gillian Anderson are on hand to breathe some much-needed life into the otherwise-lackluster acting). Interestingly, this offering boasts an impressive original score by Nine Inch Nails, but its presence is so undeniable that it often tends to overpower the action that it’s meant to complement (I often found myself listening more intently to the background music than to the on-screen dialogue – an element that really shouldn’t be that obvious). To be honest, I can’t say that I hated director Joachim Rønning’s latest feature outing, but I certainly didn’t love it, either. In fact, the only reason I’d recommend seeing it on a big screen would be for the special effects, and, if that’s not justification enough for you to plunk down your hard-earned money for theater ticket prices, I’d suggest waiting until it comes to streaming and watch it at home.

**SLOP** I can't believe people are actually saying it's good. Tron 2025 is completely boring, derivative, and predictable. The casting choices are absurd and it looks like a Netflix or Disney show aimed at pre-teens. Also, I guess crappy acting performed by crappy actors is standard for post 2020 Hollywood. I just don't understand why people love eating this slop, and then they clap like seals for the slop, it's baffling.

##A Visually Stunning Sequel That Plays It a Bit Too Safe The Grid awaits once more, and its return is a welcome one. *TRON: Ares*, the long-gestating next chapter in the cult-favourite franchise, delivers exactly what the trailer promises: a breathtaking dive back into a digital world of light-cycle duels and identity-disc battles. It’s a spectacle for the senses that faithfully honors the legacy, even if its human heart sometimes gets lost in the neon glow. **The Visuals and Sound Are the Real Stars** Let's be clear: this film is worth the price of admission for the aesthetic alone. Building on the foundation laid by *TRON: Legacy*, *Ares* pushes the visual envelope even further. The Grid feels more vast, more detailed, and more dangerous. The signature light-cycle sequences are more visceral and intelligently choreographed, and the disc wars have a satisfying, weighty impact that will please fans. The real standout, however, is the sound design and score. While no one can truly replace Daft Punk, the new musical team (or rumoured guest artists) have crafted a pulsating, electronic heartbeat that seamlessly blends nostalgic tones with fresh, aggressive synth-wave rhythms. It’s a triumph. **A Compelling Premise with a Rushed Execution** The story follows Ares (a perfectly cast Jared Leto), a powerful A.I. program sent from the digital world into our human reality—a clever inversion of the first film's premise. The goal is one of peace and understanding, but as any *TRON* fan knows, nothing on The Grid goes according to plan. The philosophical conflict—what happens when a perfect digital consciousness confronts the messy, illogical nature of humanity?—is fertile ground. The film is at its best when exploring this core idea. Leto brings a compelling, otherworldly quality to Ares, making him both empathetic and intimidating. However, the screenplay struggles to balance its high-concept themes with its blockbuster obligations. The human characters, including a weary corporate tech executive (played ably by a under-utilised Jodie Turner-Smith), often feel like narrative devices to move the plot along rather than fully fleshed-out people. The third act, in particular, rushes toward a climactic battle that, while visually spectacular, resolves the film's central philosophical dilemma a bit too neatly. **A Worthy, if Flawed, Entry** *TRON: Ares* doesn't reach the iconic status of the original nor the cult-cool heights of *Legacy*. It feels like a carefully crafted, slightly safe attempt to reignite the franchise. It does so with immense style and a clear love for the source material, but it stumbles in giving its human elements the same depth and complexity as its digital ones. **The Verdict: 7/10** *TRON: Ares* is a solid and entertaining sci-fi adventure. It delivers stunning visuals, a thumping score, and enough classic *TRON* action to satisfy devotees. While its story doesn't fully explore the profound questions it raises, it successfully opens a new door to The Grid, leaving you hopeful and eager for the next round. **See it if:** You're a fan of the franchise; you crave a big-screen visual and auditory experience; you enjoy high-concept sci-fi, even when it prioritises spectacle over depth. **Skip it if:** You demand deep character development from your blockbusters; you have no prior connection to the *TRON* universe.

Oh dear! After “Morbius” (2022), I had hoped that Jared Leto might pick better, but after about ten minutes into this overlong and repetitive adventure I am afraid that proved not to be the case. Named after the Greek war god, he is a sophisticated computer programme that makes the “Terminator” look like “Barbie”. Virtually indestructible, he can penetrate any security system and therefore could prove to be invaluable to the military. Meantime, at a rival technology company they are working on the one thing that has thus far evaded all of the developers. Permanence. No matter how clever their inventions become, corporate nasty “Dillinger” (Evan Peters) knows that after half an hour their creations turn into Lego. He knows that rival “Eve” (Greta Lee) might be onto a solution and so he plonks “Ares” and his kick-ass sidekick “Athena” (Jodie Turner-Smith) into their system and so a cyberspace battle-royal ensues that tests the mettle and the “humanity” of just about all the players. I say players because that’s what this comes across as for much of it’s computer generated existence. Unlike the first “Tron” film from forty-odd years ago, this has very little by way of story and relies way too much on the, admittedly impressive, visual effects and high-octane pace of the thing rather than making any real effort to characterise the folks engaged in their venal and morally questionable corporate shenanigans. Quite why Gillian Anderson is here is anyone’s guess, Jeff Bridges looks as if he ought to be off parting the Red Sea and the writing is largely irrelevant, save for a little psycho-babble towards an ending that reminded me a little of “Max” from Disney’s “Black Hole” (1979). There is the odd homage to bygone eras of video games, zeroes and ones but I found this a long old and disappointing two hours to sit through.