“Tron: Ares”
(USA)
Metacritic (5/10), Letterboxd (2.5/5), Imdb.com (5/10), TMDB.com (5/10); Imdb.com critics review
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.