"Here's a novel scenario: the year's best score was written for the year's worst film. It creates, in turn, a kind of inescapable, torturous psychic loop: the brain starts to stall as each technobabble line of dialogue and drab narrative turn of Tron: Ares enters the processing centres, only for it to be periodically zapped back into consciousness when a new track by rock outfit Nine Inch Nails starts vibrating the butt cheeks. From despair to euphoria, despair to euphoria, on and on."
"Tron: Ares is the first time they've provided a score as Nine Inch Nails, inheriting duties from the now-disbanded Daft Punk, whose Gallic beeps littered the previous Tron film, 2010's Legacy. And this, in whatever way can be distinguished, feels like a Nine Inch Nails score versus a Reznor and Ross one. Not only do Reznor's agonised vocals creep into a key action sequence, but the whole affair"
Reporters are deployed to cover developing stories across reproductive rights, climate change, and Big Tech. Donations fund on-the-ground journalism and keep reporting accessible without paywalls, relying on support from those who can afford it. The year's strongest musical achievement accompanies a poor film, producing a repetitive emotional loop between despair and euphoria. Nine Inch Nails’ contributions shift the soundtrack identity away from previous collaborators, and Trent Reznor's vocal presence infiltrates action sequences. The score inherits a legacy from Daft Punk's distinct electronic textures while asserting a rawer, band-centric sonic character that contrasts with the film's faltering narrative.
Read at www.independent.co.uk
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