TRON: Ares, Roofman, After The Hunt & More: ScreenRant’s Review Roundup
Jared Leto in his grid suit in Tron: AresWalt Disney Studios Motion Pictures / Courtesy Everett Collection
Mae is the Senior Reviews Editor and Critic at ScreenRant. Her previous work can be found at Inverse, Pajiba, CinemaBlend, The Mary Sue, Looper, and more. She has also served as a film festival juror at SXSW, LightReel Film Festival, and more. She is a member of the Critics Choice Association and the Washington, DC Area Film Critics Association.
ScreenRant‘s reviews team is back this week with a variety of movies to watch in theaters and on streaming. Our roundup includes a slew of opinions on this weekend’s biggest and smallest releases for you to make the best viewing decision.
We’ve got reviews for TRON: Ares, Prime Video’s Maintenance Required, Kiss of the Spider Woman, and more, along with excerpts from each review. And be sure to check out our reviews section daily for the latest movies and our critics’ takes on them.
Tron: Ares
The rest unfolds too much like one of those automatic updates that pops up on your computer: after the possibilities introduced by downloading it long ago, this latest version feels, at best, obligatory and underwhelming.
Jennifer Lopez holding a cigarette in a spotlight in Kiss of the Spider Woman 2025
The star power is immense and the songs, though not all of them memorable, elevate the narrative. The dynamic between the characters kept me interested, even when certain moments lingered too long or fell flat.
Even when it gets so close to becoming repetitive, it shifts gears, allowing the narrative, and us as the audience, to refocus. From the opening scenes, The Woman in Cabin 10 hooks us and doesn’t let go.
The real tension of the film is not whether the bomb will fall on Chicago, but whether America would act with level-headedness in extreme global warfare. But on that score, the film feels woefully naive.
Petsch and Scipio are both extremely attractive and breezy performers, but, the film is as sputtery as an old car on the fritz, failing to update its cinematic lineage in any conceivably positive way.
Through the amazing array of talking heads Hanks assembles to share their relationship to Candy, we are left with the distinct impression that there just wasn’t anyone else like John. A grand man indeed, in a grand documentary to suit him.
The music does a lot of heavy lifting, creating a very serene atmosphere that gradually builds until the gentle piano tones morph into loud, orchestral pieces that mirror the growing paranoia of Alma’s journey.
Yet Dickinson’s strength as a writer-director is enabling us to feel something, anything, one way or another. Frank Dillane takes it a step further by taking us on a roller-coaster of emotions as his character bounces in and out of instability and brief moments of happiness.
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