Director Steven Lisberger’s first “Tron” in 1982 delighted most audiences with its clever ideas and its imaginative visuals, though, of course, contemporary CGI images far outperform those from 42 years ago. Then 15 years ago director Joseph Kosinski’s “Tron: Legacy” put its stamp on the cyberworld, with a Daft Punk score buoying the action sequences. Now in its third iteration, director Joachim Rønning’s “Tron: Ares” comes roaring, literally in ear-piercing sound, to reverse the original concept. Instead of game creator Kevin Flynn (Jeff Bridges) becoming trapped in the digitized Grid, racing to escape on the coolest of motorcycles, what if that A.I. world invaded the reality its designers, that is, what if “we’re not going there, they’re coming here.”
One recurrent problem complicates that experience, namely, that the inventions, from the Master Control Program to the A.I. security guards/soldiers, lack permanence, dissolving into black debris after 29 minutes. This limited existence attempts to add suspense to the regularly occurring confrontations, undermined by the fact that the A.I. programs replicate shortly after disintegration. However, dazzling visuals dominate, as motorbikes race and chase and cars crash, amidst red neon light trails, all exhausting and repetitive, no more original than any superhero movie.
Moreover, as if aware of the pedestrian dialogue and cookie-cutter characters’ inability to offer any complexity, music composed by Nine Inch Nails all but makes thought impossible, so screeching loud is it in IMAX, as “Tron: Ares” should be seen.
A bit more engaging because of its human element, both Eve Kim (Greta Lee) and her beloved, departed sister Tess became Encom’s directors after founder Kevin disappeared, still firmly ensconced within the grid. Carrying on the legacy, Eve searches for the key to the permanence code, the critical double helix solution hidden somewhere in the frozen Arctic location’s abandoned computer disks. Meantime, Julian Dillinger (Evan Peters) of Dillinger Systems connives to deceive his governing Board of Directors with a presentation of A.I. Ares (a fine Jared Leto) and an imposing tank. The problem is that Julian must usher others away in under the critical 29 minutes. Julian’s glorification of A.I.’s power depends on securing permanence, and he will do anything to gain that enabling element. His mother Elisabeth (Gillian Anderson) is the only voice of reason.
This conglomeration of competing interests and the dangerous A.I. program Ares (named after the Greek god of war and who here doesn’t behave according to his design) initiate the conflicts that take over after this quick, early setup. Factored in will be Ares’ fierce, unscrupulous lieutenant Athena (Jodie Turner-Smith) and her subordinates. The raison d’être of all this is to thrill to and feel a part of the exhilarating battles, both verbal and nonverbal, though only surrendering one’s own mind will keep the two hours interesting. After all, the glorified goal of permanence seems only available to the A.I. programs which have already invaded our real world. “Tron: Ares” is at cinemas now.