With the box office disappointment of Disney’s “Tron: Ares,” the future looks bleak for the sci-fi series that began in 1982, which was already unsuccessfully rebooted in 2010’s “Tron: Legacy.”
The release of “Ares” was already starting to look down. Last week, box office predictions dropped from $50 million to $35 million, a figure the film was unable to cross, with its opening weekend total sitting at $33.5 million. This figure is especially bleak when compared to the $44 million “Tron: Legacy” was able to wrangle.
The film also comes as another in Jared Leto’s recent run of box office bombs, with his last three films all failing to hit their targets on opening weekend. One of these was the widely memed “Morbius” that Sony re-released after a firmly tongue-in-cheek online campaign, only to lose even more money when the online “fans” didn’t show.
But not all of “Ares” is actually that bad. The soundtrack, provided by industrial rock legends Nine Inch Nails, is a powerful and gritty take on the technological beats that were much smoother under previous composers Daft Punk in the 2010 reboot. The video effects are very well done, with the Grid getting a fresh look that revealed more than just small rooms and glassy walls of blackness.
Leto’s performance as Ares, the rogue Master Command of Dillinger Technologies’ security system, is restrained and his best in years, with his chemistry with costar Greta Lee apparent. Evan Peters’s turn as the villain, Julian Dillinger, who is the grandson of Tron’s original antagonist, Ed Dillinger, is underwhelming, as are the performances of almost every other side character.
“Ares” takes place following the events of “Legacy,” and follows the intense competition between Dillinger Technologies and ENCOM over the permanence code, a line of code that would enable the transfer of digital assets to the physical world for longer than 29 minutes.
The best scenes in the movie don’t rely on the fancy graphics or the sometimes overwhelming new soundtrack, but are the ones drawing on the aggressively ‘80s visuals and the haunting Moog synths of the original film, complete with Jeff Bridges, the only actor to appear in all three Tron films.
While worth a sequel — and seemingly intended to have one thanks to a backdoor left open by director Joachim Rønning — “Tron: Ares” seems destined to end as an undeserved failure for a sci-fi series that has no shortage of successful spinoffs. The failure of the films is a head scratcher, but “Tron: Ares” is sure to become a cult classic, just like the first two “Tron” entries.
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