Tron Review: Styleless Future or Missed Potential?

When Joseph Kosinski – the author of later adrenaline hits Top Gun: Maverick or F1 – made his debut in 2010, it was not a bit of a film according to classic Hollywood rules. Tron: Legacy 3D, like Top Gun, was a continuation of the work of the 80s. The last century, but the forgotten sci-fi Tron was the opposite of a blockbuster with Tom Cruis.

The courageous, visually specific achievement was inspired by the beginning video game industry and tried to transfer this aesthetics to cinematography. The Kosin retrofuturistic sequel also tested the limits of common film narrative. The audience introduced into a bewitching, abstract and very stylish world where computer programs are fighting for their freedom.

However, the creators of the current continued Tron: Ares, which have been screened by Czech cinemas since Thursday, decided to bury everything. The series never stood on any story. In the first episode of programmer Kevin Flynn played by Jeff Bridges, the cybernetic world sucked in and he helped to free the enslaved programs. In the two Flynn disappeared, his son Sam found a trail after years and followed him into a space where cyber creations were created. They were no longer just lines of code, but hid the seeds of human consciousness.

The third part now tells of the duel of two top technology companies “about the future of humanity”, about who finds the key to materialize these fruits of artificial intelligence in the real world. But while the second episode was stylish, it was largely in a minimalist, carefully designed, strict geometric world, it was a perfect fiance of novel visual appearance with a sound design, the new product resigned from any style.

Jared Leto in the role of a co -producer and also the title program of Ares hungry for freedom and life in the real world acts as a character from a B -film. Even more ridiculous is its Creator. It should be similar to Elon Muska, but it reminds more of a cheap parody of Bond.

The previous film by Kosinský, thanks to movement in an infinite space full of lines and color lines, was one of the few invention uses using the new 3D technology, which was far from being speculated at the time of the first episode of another Avatar saga.

The novelty, however, was filmed by Norwegian native Joachim Rønning, who is trying to transfer cyber creations to the real, in his case mostly darkened night world. The currents of the red-orange field lines behind the racing motorcycles are looming over the dark contours of the city, but only act as a tedious retro.

The abstract beauty arising from the sounds of the captivating electro music by Daft Punk is gone and instead of the ugly image, the electronic background of Trenta Reznora and Atticuse Ross plays.

It is one of the many bad decisions that the creators have made. Not that the soundtrack from the acclaimed variables of film music was bad in itself. Dark synthesizer compositions, however, only underline how the film is inadvertently ridiculous in an effort to be as impossible as possible, fatal. He is only self -centered, overly serious and lacks any imagination.

In this respect, Tron reminds of some DC DC comic films in Superman: The Dawn of Justice, which tried to give superheroes a darker and more mature face. Thus they did through a fetish -dark, long, slowed shots, which in fact masked the inner emptiness.

Similarly, the authors of the new Tron are in the dark and think they are looking at today’s world of the boom of technology societies and the advent of artificial intelligence. Instead of a critical point of view, they only offer a hundred times to bent clichés.

The previous film would certainly be criticized for showing up that it was a victory of design over the story, a blind development branch of Hollywood. The novelty cannot be accused of nothing, because it will not attract anything. There are a few scenes in which the threatening of giant or super fast cyber machines stands out, which materials from a real world with a kind of 3D printing.

Milly retro is a short visit to the cybers of the 80s. Otherwise, however, the cumbersome prevails. As if Jared Leto took care of his long raven hair flowing in the right way when he jumps in a slow -down shot with glass or sets out on a sunset on a motorcycle. Yes, even such a scene is here and unfortunately is not meant ironically.

This is actually the most painful in the film. Whenever the authors want to say something deep, the scene looks like a cheap trash or an animated film for schoolchildren at the first level.

In today’s world, there is not much space for joyful technooptimism 80. And 90. Years, which took the better of the development of computers and cyberpunk prose and at least in terms of design has been propagated into both previous films. They looked at the future, but also with some hope.

TRON: ARES in a way tries both. But it does in the style of “first pour the audience for two hours with a hutnous cybert as a lubricant, and then we will redeem the wannabe liberating finals”. It is definitely not enough in a film that has neither style nor characters. It’s just a hard time.

Robotically, there are not only programs, but also their creator and boss or Gillian Anderson in the role of his mother, punishable to just a few stereotypical replicas. A few solid action scenes this work suffering from a lack of ideas and the overall vision will not save.