Film Reviews

October 10, 2025

When viewed as a techno-action sci-fi movie, "Tron: Ares" excels in all the essential areas. It's slick, exciting, has a rocking soundtrack that never makes you want to stop bopping your head, and contains some measurable, albeit standard, emotional moments. However, when taken as a "Tron" property, which now includes movies, novels, and comic books, all of which have historically strived to incorporate intelligence as well as captivating visuals, "Ares" seems to settle and shortchange itself. It contains an easy-to-digest, good vs evil plot; traditional character developments; and the usual assortment of "Tron" action sequences in and out of the Grid—namely Light Cycle chases and Identity Disc throwing. I suspect die-hard fans of the franchise will derive enough pleasure out of "Ares" while not being overly enthusiastic about its offerings, whereas more casual viewers will be sufficiently entertained for two hours.

This is, of course, the second sequel to "Tron" (1982) and the follow-up to "Tron: Legacy" (2010), with the through line to all three movies being Jeff Bridges' Kevin Flynn, who, you'll recall, was the first human to be digitized into the Grid, the "Tron" universe's trademark virtual reality that can be explored and manipulated by those downloaded into it. Flynn, at one time a brilliant human software engineer, was the first to be forcibly uploaded into the Grid and a simulated version of him still resides there, which we'll learn is good for Ares (Jared Leto), the titular hero of this latest adventure, because he needs Flynn's code to help save the world.

To go into the details of the plot would be futile, not only because there are so many variables, but because the screenplay by Jesse Wigutow presents them so fast that anyone who isn't intimate with the first two films, or the subsequent short films and other media, is bound to miss something. I admit I'm a non-specialist when it comes to "Tron," but I can vouch that each movie's superficial qualities give it a vibrancy that feels bold and unique. We also walk away from each installment, including this one, believing that if one were to do a deep dive into this world and study all its rules, it would be worth it. They have that kind of promise and complexity, similar to "Dune."

The gist of the plot is that the two competing computer technology companies established in the first two movies, ENCOM and Dillinger Systems—with the former being more humanitarian-centric and the latter more capitalistic and military-oriented—are racing toward the next big breakthrough, which is to physically manifest digital constructs, i.e. print digital life forms in the real world. One of the early scenes shows ENCOM executive Eve Kim (Greta Lee) and her colleague Seth Flores (Arturo Castro) stress testing the code left behind by Flynn that would make this innovation possible. They attempt to render an orange tree that stays alive for more than the current 29-minute limitation.

Catching wind of their progress, and not having as good of luck, is Dillinger's ambitious but short-sighted CEO, Julian (Evan Peters), who was left in charge of the company by his late grandfather. He makes a hollow promise to the company's board that he can digitally print a super soldier, the aforementioned Ares, which he's also assigned to be Dillinger's Master Control Program, along with a heavily armed tank. Julian touts these sophisticated weapons are quickly and easily replaceable, but there are two catches: 1) They cannot last beyond the sub-30-minute life span, or at least not without Flynn's "permanence code"; 2) Ares, despite being artificially intelligent, is starting to display sentience, and picking up on human-like practices such as sacrifice and empathy, which could mean he'll start to rebel against the increasingly maniacal Julian.

Despite being reprimanded by his mother (Gillian Anderson) for biting off more than he can chew, Julian decides to unleash Ares and another soldier named Athena (Jodie Turner-Smith) onto ENCOM's mainframe, directing them to steal Kim's copy of Flynn's code. This leads to a thrilling Light Cycle chase sequence in the "real" world, i.e. Center City in the "Tron" franchise, where Ares and Eve cross paths for the first time, and it's during this encounter that Ares becomes aware of his own conscience, ultimately leading to a well-trodden but nonetheless moving path in which a human and an avatar forge a bond against a greater evil.

"Tron: Ares" channels the bulk of its brain power and focus on its presentation and style, which, despite seeming superficial, does take brain power and focus to pull off at this high of a level. The movie isn't as attentive to story, plot, or characters, all of which are serviceable but not exactly original or terribly engrossing. In fact, the actors speak almost robotically, which I suppose makes sense for Leto because his Ares character is an advanced AI program, but Lee and Peters aren't given much liberty to act beyond what the plot asks of them, which is to be the requisite heroine and villain, respectively.

Even though director Joachim Rønning is less concentrated on the moral, social, and emotional ramifications of the "Tron" world, he is keen on how the characters navigate and survive in it. His talents are realized through exhibition, and he and editor Tyler Nelson orchestrate "Ares" so that its look and rhythm keep us engaged amidst an otherwise basic sci-fi action movie conflict.

To its credit, the visual and aural elements of "Tron: Ares" are top-notch. Veteran cinematographer Jeff Cronenweth and the special and visual effects artists give the movie a cool, glossy sheen, with deep, rich blacks and laser reds (courtesy of the light ribbons left behind by movie's speedy vehicles and Christine Bieselin Clark and Alix Friedberg's costumes). "Ares" has a refined finish that is fertile ground for the action sequences, which are traditional on paper but render fresh and exciting by virtue of the environment in which they take place. Also key to the movie's success, and probably its most resonant quality, is the distinct, omnipresent music by Nine Inch Nails, which is a mix of techno, electronic, and industrial. Caustic, cold, and combative by design, it lends this world a modern and unforgiving feel that's simultaneously fun and playful. The music is undoubtedly what gives the movie's its incessant pulse.

If I had my druthers, "Tron: Ares" would have brought more sophisticated and original storytelling to the table. Indeed, the plot, themes, and character arches feel derivative not only of its predecessors but also "The Matrix," "Bicentennial Man," "A.I. Artificial Intelligence," and even "Short Circuit" from way back in the day. We've sampled this narrative many times over, but despite its recycled elements, the filmmakers keep the energy levels up via superb production and post-production values, and because we're able to bask in its audiovisual virtues, we can forgive the movie for leaving us wanting more on the character and human nature (and AI nature) side. We leave the movie satisfied, but also wondering just how amazing and fulfilling "Ares" might have been if it possessed as much substance as it does style.