“Tron: Legacy” ended in 2010 like many films before it: the hero Sam Flynn (Garrett Hedlund) and the program Quorra (Olivia Wilde), brought from the digital world into reality, set off on their motorcycle towards the sunrise, which of course also meant a promise for another sequel to the groundbreaking sci-fi cult classic “Tron” from 1982. But although the stylish directorial debut of the later “Top Gun 2” and “F1 – The Film” mastermind Joseph Kosinski was a moderate success at the box office and corresponding sequel plans quickly became more concrete, the project, like most in Hollywood, ultimately fizzled out again.
Therefore, it is almost a miracle that we can now immerse ourselves in the neon computer world of “Tron” in the cinema – which is certainly not entirely innocent of the omnipresent topic of AI. “Tron: Ares” from “Pirates Of The Caribbean: Salazar's Revenge” co-director Joachim Rønning is more of a reboot than a direct sequel, although he actually takes up the idea raised in the finale of its predecessor and rethinks it again – with more stars, more audio-visual oomph, but little behind it…
The computer program Ares (Jared Leto) no longer just wants to stubbornly carry out the (murderous) orders of his creator…
Video game developer Kevin Flynn (Jeff Bridges) once developed technology that enabled him to immerse himself in digital worlds in which data is transported by spaceships and other vehicles and programs act in human form. Decades later, the young CEO Julian Dillinger (Evan Peters), grandson of Flynn's former rival Ed Dillinger, expects much more from the opposite approach: He wants to bring intelligent computer programs into the real world in order to lucratively circulate them there as expendable soldiers.
The catch: So far, his flagship AI Ares (Jared Leto) can only leave his home of zeros and ones behind for 29 minutes before it falls apart. In order to make the transfer permanent, a special code is needed that Flynn once hid virtually – and which the ambitious Eve Kim (Greta Lee) can actually find one day. Flynn's CEO successor at the video game company ENCOM becomes the target of Dillinger, who quickly sets Ares on her trail. However, the program soon struggles with its mission…
A Frankenstein made of bits and bytes
Let's face it: Despite its original setting, the “Tron” franchise never really had much to say about the rapid development of computer technologies and artificial intelligence. Instead, the premise served primarily as a tech demo framework for classic, straightforward fantasy adventures with groundbreaking effects. This is of course completely legitimate and is no different with part 3 – but in the midst of the current AI hype it is a missed opportunity.
Even if we occasionally get a sci-fi answer to what it looks like when ChatGPT and Co. process a request (“Spoiler”: Ares basically just googles at lightning speed), the topic is only touched on in passing in the film. The script by Jesse Wigutow (“Daredevil: Born Again”) tries to be a Frankenstein allegory (the famous Mary Shelley quote “Beware, for I am fearless and therefore powerful” becomes Ares' new credo), but at the same time it goes a bit too far with this iconic reference.
Of course, the iconic light walls are back in the third “Tron” part!
The comparison is certainly interesting. Instead of body parts, Ares was artificially assembled in the real world using bits, bytes and the latest technology – and like Frankenstein's monster, he turns against his creator. However, the development towards awareness remains rather asserted. Oscar winner Jared Leto (“Dallas Buyers Club”) does his best to imbue his robotic Ares with human traits, such as a strong love for 80s pop music! However, the script doesn't give him enough to make him a tangible “flesh and blood” protagonist not only on but also in front of the screen. It still seems artificial even when it shouldn't be.
Paradoxically, something similar applies to the human characters: “Past Lives” star Greta Lee certainly works as a popular figure, but you can’t get more out of the character. Meanwhile, your fellow campaigners are generally not worth mentioning and will probably be forgotten again immediately after going to the cinema. Even Julian Dillinger, played by “Dahmer” talent Evan Peters, remains just a copy of the villain formula (whose implied backstory also completely misses out on “X-Files” veteran Gillian Anderson). Jodie Turner-Smith (“Queen & Slim”) delivers a much more engaging and, above all, more threatening performance as Ares' right-hand woman Athena. The 29-minute countdown for the AI visits always brings a suspense-promoting urgency to the proceedings.
Visually the accelerator pedal is fully depressed
Ultimately, however, the breeding ground that could make “Tron: Ares” a truly thrilling blockbuster pleasure is missing. All the more annoying because the potential for this is definitely there elsewhere: the third “Tron” is also an audiovisual feast (and this time even without the eerily rejuvenated Jeff Bridges from CGI hell). Visually, they are very much based on “Legacy” and are not creating their own style that is rooted in the well-known “Tron” world.
The elements from the almost extraterrestrial computer realm that enter reality this time (especially the characteristic walls of light) always cause amazement. And there are also some highlights within the digital world, for example when a hack attempt suddenly appears as a heist with personalized programs or Ares starts an escape attempt that turns into a real pixel frenzy.
ENCOM CEO Eve Kim (Greta Lee) finds herself in the sights of her opponents, who will stop at nothing to achieve their goals.
In keeping with this, the soundtrack by the industrial gurus Nine Inch Nails booms out of the speakers and creates a soundscape that is even darker and more powerful than the fantastic music by Daft Punk in its predecessor.
But if everything that takes place on this wonderfully prepared stage is so soullessly and rushed that at some point you don't care who is actually pursuing what goal and why, even the most impressive images and even the most thunderous score can only do so much. For a film about how an artificial being gradually discovers feelings despite the circumstances, “Tron: Ares” remains surprisingly emotionless and colorless in the end.
Conclusion: “Tron: Ares” is once again an absolute feast for the eyes and ears. But even the stylish look and the cracking Nine Inch Nails soundtrack can't prevent the thin story thread and the pale characters from ultimately making the sequel a dull and overly cool experience. A visual upgrade without any substantive progress.