Catapulted by marvelous visual effects, “Tron: Ares” never meets the narrative heights of other sci-fi epics, but its intense action sequences and fervent Nine Inch Nails score push the franchise film just past the finish line.
Stuck as an expendable soldier in a battle for control of a digital world, Ares (Jared Leto) begins to doubt the mission he was created for, longing for a sentient life on Earth. When a chance for permanence arises in scientist Eve Kim (Greta Lee), Ares must race against the clock and decide if he can trust the enemy for a chance to live, or if he’s worthy of a life at all.
Although it may not innovate like past installments, “Tron: Ares” still features many of the fan-favorite highlights of the series: neon-lit worldbuilding, delightful CGI battles and a top of the line soundtrack. Yet after three films, the franchise formula of “sick action with a weak screenplay” is starting to grow stale, and it couldn’t be any more apparent then now.
The best phrase to describe the long-gestating sequel is “untapped potential.”
While Daft Punk wasn’t returning to the Grid after creating a genre-changing score in “Tron: Legacy,” beloved band Nine Inch Nails’ industrial rock sound was more than enough to carry on the torch. Yet even with the band turning in an electrifyingly sinister score, it’s never fully utilized. Unlike “Legacy,” which treated the film’s music as its heartbeat, “Ares” uses its score like any other generic blockbuster, as background music. A majority of the time it feels like elevator music that you tap your finger to and ultimately forget.
However, it does compliment a handful of action sequences well, giving them a boost of adrenaline that fits nicely with the film’s blood red aesthetic.
While the sci-fi flick could have retread the same narrative for the third time, it does try to think outside of the box. Humanizing a villainous character isn’t something that the franchise has fully explored, and Jared Leto — aside from recent pitfalls such as “Sucide Squad” and “Morbius” — is mostly up to the challenge. It isn’t anywhere near as strong as his performances in “Dallas Buyers Club” or “Blade Runner 2049,” but it’s a perfectly adequate turn, and one that he seemingly needed.
Disappointingly, the same can not be said for Greta Lee. Coming off of an Oscar-caliber performance in “Past Lives,” Lee’s Eve Kim lacks depth in nearly every aspect. Her line-delivery feels unnecessarily robotic, and she lacks the quiet, yet likable personality that can be found in her previous work. Other actors such as Evan Peters, who plays the film’s main antagonist, as well as Jeff Bridges — returning to “Tron” for a third time — also phone in forgettable performances. Many of these issues stretch from director Joachim Rønning.
The 53-year-old has quietly become one of Disney’s go-to assets, having directed previous films such as “Maleficent: Mistress of Evil,” “Young Woman and the Sea” and “Pirates of the Caribbean: Dead Men Tell No Tales.” The underlying issue with these films and their poor critical reception is Rønning’s inability to competently direct. If Stephen Spielberg’s work can be compared to your favorite name brand cereal, then Rønning’s work is knock-off Wheaties, completely flavorless and devoid of effort. It’s because of this that “Tron: Ares” also lacks any of the style of its previous two films. Sure, the bright lights are there, yet they somehow manage to feel duller than ever.
It’s all capped off by the film’s script; quite possibly the worst screenplay for a major blockbuster this year. The writing overflows with quippy one-liners, unbelievable dialogue and eye-rolling exposition at every turn, never trusting its audience to understand what’s going on.
Disney’s newest CGI-engagement pales in comparison to previous installments and lacks any meaningful dialogue, but if longtime fans are only itching for neon-inducing action and headbanging music, then they’ll likely be satisfied.
“Tron: Ares” released Oct. 6 and is in theaters now.