'TRON: Ares' Review: Legacy Sequel Gets By With Blistering Aesthetic Identity
The sudden recent reclamation of ‘TRON: Legacy’ feels like a direct reaction from the modern audience to blockbusters of the now losing their aesthetic and creative way. Legacy, while clearly flawed, has found new favor in a crowd long overdue for something singular on the mainstream cinematic landscape. That film is packed with one-of-a-kind ideas and implementations; visuals that both set it apart from any such similar release at the time, as well as ground it in history as something that, especially in the light of today’s output, wasn’t afraid to be unabashedly weird.
Whatever happened to weird? Nobody is quite sure, but if it isn’t anything else, ‘TRON: Ares’ is very weird… and that counts for something.
From director Joachim Rønning, who has blockbuster experience in both the Maleficent and Pirates of the Caribbean franchises, Ares takes on a visual identity rather unique to the general crop of big movies releasing on a regular basis nowadays. The camera moves constantly, and in sharp, jagged patterns; weapons are closely followed as they jab, leaving fluorescent streams of light in their wake.
Bikes fly, elements clash, and we rarely ever remain still. The film’s obsession with the color red, too, feels like a proper visual use of color and tone to establish a blatant yet crucial theme within the narrative. The movie just looks good, and intentioned, from sensible and layered lighting dynamics to vibrant framing and thoughtful set-pieces.
Ares also moves at a breakneck pace in the most literal sense possible. Action sequences feel downright kinetic, both sword and weapons fights are impossible to fully track in a wondrous though sensible manner. A bicycle chase towards the beginning of the movie, shortly after the film’s combatting company leads (both original characters) bicker over a spat of technology, sticks out as a demonstrative highlight as to what this movie is capable of at its absolute best.
It’ll take you aback, truly. Rønning at times here seems to have learned his “big movie” lesson from the unfortunate lack of success and positive reception both surrounding his Pirates movie, Dead Men Tell No Tales. Where that effort was sporadic and less particularly stylish, this one feels more painstakingly suited to the colors and concepts that form it; all movement is motivated by something beyond the screen and everything, especially the wacky stuff, feels thankfully encouraged.
So, as was often the case with Legacy, Ares completes the rare task of making do with aesthetics alone. Though where it differs from Legacy is that it fails to conjure up much more beyond the visuals given the mostly uninspiring work by the pen here.
Sure, there are some basically intriguing bits of narrative prowess on display here. The story itself, without spoiling specifics, revolves around two competing tech companies vying for the same goal by way of the digital world of TRON; that is, the ability to ensure the permanence of artificially-made objects in the real world.
The only difference between the two is that one company wants to use that power to grow fruit trees, whilst the other prefers to create and sell weapons of mass destruction to whichever militant power is willing to pay up for them.
You can quite easily see where this is going and, even further, see why it works, at least in concept. But in execution, Ares fails to fully pick a side in what is quickly becoming one of the most important conundrums of our time in the human battle with artificial intelligence. To be a work of art in the position to comment on such a pressing, undeniable issue is an unbelievable privilege… which makes it all the more shocking as to why this movie seemingly refuses to do so.
At first, A.I. is presented as a tool purely meant to serve, before being villainized by Evan Peters’ antagonist and then, subsequently, reclaimed by digital Jared Leto and his posse of fleshy warriors. But before long, Leto’s robotic titular character is wondering about having feelings and integrating himself into society as conscious, functioning member.
In a time in which many are worried about losing not only their jobs, but their identities to these robots also, Ares’ messaging strikes surprisingly hollow. And to the point of the cast, it felt as if most everybody in the collective audience lashed back against the idea of the aforementioned Leto in the lead role and for a good, even if off-film, reason. Greta Lee as a new lead character Eve Kim and Jeff Bridges as former company CEO and fan favorite Kevin Flynn stand out amongst a cast that, otherwise, may mildly underwhelm in similar fashion to the film’s non-committal story.
Having produced the film also, it is likely that Leto’s own preferences may have made their way into this movie. On the page, at least, it feels ike the unfortunate result of having “too many cooks in the kitchen.
Truly, though, TRON: Ares spectacular visual palette may make it worth the price of admission alone. Past the franchise’s maligned politics and questionable casting choices, Rønning’s direction goes a long way in salvaging what he was working with in concept and writing. Fans of the franchise specifically should be deeply satisfied with this movie’s (mostly) calculated references to older works, as well as its refreshing use of improved aesthetics that have long been deemed unnecessary after the franchise entry before this one didn’t perform like it was expecting to.
While it falters most everywhere else, this is a visual achievement of a movie that never stays still and scoffs at the thought of sitting, thinking and waiting. It’s one for the fans, too, although it likely won’t make up for old ones and answer the new ones itself.
This is a “by the books” blockbuster in every way but the way you look at it; and, somehow, that still may be enough for TRON: Ares to get by.