Review of Tron Ares (2025)

A commentary and review of Tron Ares

The movie promotes the characters’ physics as supporters of the movie. Of the movie’s story and plot. As opposed to figurative actions, the story’s actual actions of the individual variety as in physics themselves is the real computer gift.

The ascent of computers, being evolution’s fear mechanism, is a useful part of Tron Ares, meaning in other words that the movie does a good job of being about evolution’s ability to relax, and I can transmit this idea as a meaning of duality, of dichotomy, the duality/dichotomy being to do with of course the conventional angle of the plot itself, of its internal themes, and then the external aspect of a philosophical subjectivity, as contradictory and oxymoronic as that is.

Constituent-wise, the movie’s story and product sense (not a product placement reference) is a professional design, in which the end note of Asia being part of Tron’s universe is a well-used aspect.

On a more philosophical note, the physics sensibility of the movie (I daren’t offer story, because story is in keeping with the physics, aka the previous commentary to do with physics of characters) is a philosophical generator of mammoth proportions. And maybe this is to do with the professionalism of the geography magic of the product.

The evolution vs computation/morality ideology. Does it control the grid? Does it control the movie’s external industrial manufacturing basis? The latter query, is a reference or a presumed reference to clash of cultures. Aka, the universe of evolution, of animal DNA and human anatomy evolution and ascent is a concept of colliding, aka professionally colliding against the universe of computers themselves. Yes, indeed, I accept that the plot isn’t exactly about this topic, but, the notional value of the reference can perhaps still within great reason stand.

The geography note, of the movie’s productness, is a sense in which the concept of quantity being the bridger between evolution and its fear and computers can be explained. In other words, the geography magic of the story and its trajectory is able to philosophically if not computationally and scientifically accommodate and explain the ideology that quantity is the true evil of existence.

In other words, quantity is secretly the means and usefulness of the movie as a product. Jared Leto is fantastic, as Ares, a solid stagnant yet fundamentally likeable lead, whose story is not contradictorily more sensible and professional than Hedlund’s version from fifteen years ago.

I say sensible. I say professional. I didn’t say coherent. I didn’t say more coherent than Hedlund’s version, despite some of the tone machinations of 2010’s Legacy being off colour. By this distinction, by this clarification of “tone” of literary criticism, I mean to allude to a greater macro contextualism of criticising and evaluating the movie’s whole.

The ordinary aspects of the story, i.e. Eve Kim’s story prior to the grid, is actually what I’m talking about, as not an exclusive concept however, when it comes to the themes of evolution’s fear of existence and computation’s potential for reconciling with evolution.

As a schizophrenic, who is currently doing battle against an internal evil, an evil that likes to use familiarity as a mechanism to keep up with me and intimidate me, in which the physics of reality and the universe is presumably doing its part to have me checkpointed per the perimeter of inducing mixed emotions and reactions within me, I was profoundly able to empathise with the movie’s themes and subconscious awareness and psychology system.

The analysis, I was creating in my head during watching the film became a nation itself. A nation in the cinema screening room. Hopefully, this conflation of values - what with me being a universal socialist - can be used as a side story by myself to rid myself of this evil.

To conclude:

Simplicity, is the perverse but not immoral tone and meaning of this film.