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Slipping into Other Worlds at Newspeak
In the middle of a dance party, you wouldn’t normally expect the DJ, anchored perfectly in the middle of four CDJs, to pull out a stringed instrument and turn a dance floor into an entranced audience. Yet that is what NGL Flounce did, and it is what I experienced at Newspeak on a chilly Saturday night, courtesy of the Massimadi x Discoño collaboration, an event closing out the 17th edition of the Massimadi film festival.
The night began with Ms Baby’s DJ set, whose song selection beckoned in the first arrivals with an assurance that the dance floor was definitely warmed up. What started with R&B/Hip-Hop classics to sing along to soon turned into body roll inducing, choreo-starting mixes of afrofusion, baile funk, and high BPM remixes.
When NGL Flounce takes the stage, there’s a palpable shift in the atmosphere. While many still felt the call to dance, all turned towards the performer, taking in the ethereal mix of strings backed by tracks that seemed to bounce between the electronic and the traditional. Chants and drums served as percussion while the violinist made the strings sing both lead and harmony, bringing the audience along through the soundtrack of afro-electronic trance.
The event was hosted by dancer and multidisciplinary artist Joya as well as rapper, actor and writer Cakes da Killa. Joya seemed to dance non-stop, first as part of the crowd, then up on a stage set just behind the night's performers.
When Young Teesh gets on the decks– not before requesting another round of applause for NGL Flounce, Cakes da Killa launches into emcee duties, grabbing the microphone to remind “all Montreal baddies” to report to the dance floor.
The night was absolutely electric: I heard two completely different, completely high energy remixes of Where Have You Been by Rihanna, and sang along with the crowd at the top of our lungs, somewhat hidden by the highest possible settings of the venue’s fog machine. Between Missy Elliot and Chief Keef there was bouyon, salsa, and soca, with Cakes on the mic keeping the energy high, and Joya on the stage dancing up a storm, welcoming attendees to join in. A stage usually becomes the second dance floor in Montreal and Halloween weekend can be no exception.
Archangel and Ekitwanda closed out the night, to the delight of the dancers, behind the DJ booth and in front. To see the bartenders and people working the coat check singing along was wonderful, and when I noticed Carolina, the event producer of Discoño, watching the performers, eyes full of admiration and pride, my heart was warmed on this chilly October night.
When I tore myself away to begin the long walk towards the nearest nightbus, lungs full of fog machine air, all I could think was how easily we slipped between worlds with each performance, anchored by hosts who tied these sets together, culminating in one unforgettable Afro-Queer story.
Jamming it real hard with Between Friends
The outside of Le Ministère was inconspicuous enough for a Monday. With a few smokers lingering outside and muffled music pouring onto the street, it seemed like any other evening on Saint-Laurent Street. Yet, past the chilly air and into the sweaty, hazy venue, indie pop duo Between Friends brought Montreal into the euphoric, 2000s-fuelled world of their new album, WOW!
As “You & Me Time” blasted through the speakers, the evening was already electric. Beaming lights and glow sticks cut through clouds of smoke as Savannah and Xavier Hudson stepped on stage. The duo instantly turned the venue into a blown-out club, with the whole room jumping up and down, leather boots sticking to alcohol-stained floors. Bold neon lights flooded the space as bodies swayed, creating a rhythm of their own. It was exactly what WOW! is all about— feeling young and careless, with a vodka cranberry in hand. As the room sang along to XD, the lyrics seemed to resonate with every person there: “Tonight, I’m looking on the bright side.” The duo’s energy was mesmerizing, with Savannah’s shirt reading “good girls go to heaven, bad girls go to Montreal” glowing under the purple haze.
Smoke lingering across the venue put the show on hold for thirty minutes as the fire alarm went off, sending the musicians backstage. After turning off the smoke machines and crowd covers of Queen songs, the siblings came back on stage with a bottle of Jameson in hand. The start of JAM! was welcomed with pulsating lights, cheers, and a shot. A fan favourite, the crowd yelled every word, drowning out Savannah and Xavier’s voices. Once wasn’t enough— not even close. Between Friends played the track four times throughout their set, taking turns singing it from the audience. The duo invited every person in the room to experience the electrifying world of WOW! right beside them.
Through their electropop and danceable tunes, Between Friends still found space for bittersweet, nostalgic moments. Songs like “blushing” and “affection” offered a break from the party. The kind where you sneak off to the bathroom to think for a minute, music still blasting from the other room. Hearing “affection” left me starstruck— suddenly, I was 18 again, red solo cup in hand, looking for affection in all the wrong places.
As the night slowly came to a close, the siblings were still giving it their all. They ended the evening with an encore of “JAM!” Anyone who had left the room hurried back in, ready to experience “WOW!” for a few more minutes. On my way out, I glanced at the merch booth, noticing a shirt with the text those who don’t believe in WOW! will never find it. Still buzzing from the last few hours, I understood exactly why that was true.
Montreal elects Soraya Martinez Ferrada as mayor
Montreal has elected Soraya Martinez Ferrada as mayor. Martinez Ferrada defeated Luc Rabouin and the incumbent party, Projet Montréal.
“Tonight, it is you who has won. Tonight, Montreal has chosen courage and ambition,” said Martinez Ferrada in her victory speech.
She promised change after eight years of the last administration. She added voters told her they wanted to be heard.
“We heard you about Camillien-Houde, homelessness, housing, cleanliness, mobility and security,” Martinez Ferrada said.
Martinez Ferrada, who immigrated to Montreal from Chile at eight years old, became the first person of colour to be elected as the city’s mayor. Her election also marks a historic moment for the city’s immigrant communities.
“I am an immigrant, I am a daughter of Bill 101, I am a daughter of Montreal, and I am home,” Martinez Ferrada said.
For Cris Vargas, Martinez Ferrada’s connection to his home country was important. “Very proud of supporting another [person] from Chile,” said Vargas.
Reaction to victory
The scene inside the venue was loud as hundreds of supporters erupted in celebration as Ferrada’s win was announced. Chants of “Soraya” filled the room, signs waved in the air, and applause continued long after.
Among the crowd was Martinez Ferrada’s daughter who waited in anticipation. Tears streamed down her face as the results poured in.
“All my emotions ran through me. It was just a lot, because I know how hard she worked for it,” Kayla Rodriguez Ferrada said.
Supporters highlighted Martinez Ferrada’s character and leadership. Véronique Pigeon, an attendee, said she appreciates Martinez Ferrada’s ability to stand up for the well-being of the city. “She has the heart of the people in the epicentre of her decision-making process,” Pigeon said.
Political career
This is not the first political win for Ferrada. She was elected to the federal government in 2019 as a Liberal MP. In 2005, she was elected as a city councillor for Union Montréal in Saint-Michel.
Looking ahead to her term in office, Martinez Ferrada pledged to lead an administration that engages directly with Montrealers. “I promise we will be an administration that listens to understand, that listens to react, and that listens to build Montreal with you,” she said.
“Soraya is the leader that Montreal needs,” said Benoit Langevin, Ensemble Montréal candidate and incumbent city councillor for the Bois-de-Liesse district.
Premier François Legault congratulated Ferrada on X and said, “Really looking forward to working together to strengthen Montreal's prosperity and influence.”
In her speech, she addressed those who did not vote for her.
“I heard you as well. I will be your mayor too, because Montreal belongs to everyone,” she said.
According to the latest results, Martinez Ferrada secured 43% of the vote, surpassing Luc Rabouin, who received 35%, and Gilbert Thibodeau, who followed with just over 10%.
Shant Karabajak is banking on affordability for a win
Shant Karabajak is a high school teacher by day, teaching seventh and eighth-graders geography and history. Outside of school hours, he is going door to door in Montreal’s Sud-Ouest, campaigning for borough mayor with Transition Montréal.
He moved to the Sud-Ouest at the end of 2017 after a run for a city councillor position in his previous borough of Ahuntsic-Cartierville with the now-defunct Coalition Montréal. In the 2021 election, he ran for borough mayor of Le Plateau-Mont-Royal with Ensemble Montréal. He lost in both elections.
This will be his first election running for a position in the Sud-Ouest while living in the borough. If he wins, he hopes to use his master's degree in Urban and Regional Development to make life more affordable for all. This includes building off-market housing, such as social and cooperative housing.
“The private sector's ambition isn't to make units of housing, it's to make the most money possible. If they could achieve their financial goals with one house, they would do it,” says Karabajak.
Affordability also fits into another focus of his campaign, homelessness.
“With my urban planning background, I knew very factually that the number one cause of homelessness is not addiction or drug consumption, it's affordability,” says Karabajak.
A 2024 report by the city of Montreal states the island has over 67,000 units that are not on the private market. The units are housing co-ops, low-income social housing and other units operated by non-profit organizations. A little over 9,500 of them are found in the Sud-Ouest, the most in Montreal.
In 2021, Karabajak also campaigned on affordability in his run for mayor in Plateau, but he was defeated by Projet Montréal’s leader, Luc Rabouin. Karabajak came in second with nearly 18 per cent of the vote.
One of the major differences between that campaign and this one is that Karabajak currently lives in the borough where he is running for office. He was living outside of the Plateau in 2021. Danielle Pilette, a professor at Université du Québec à Montréal specializing in municipal management, says living in your riding can improve your odds of winning.
“In certain communities that have a strong sense of belonging, it's important. It can help a candidate get elected,” she says. She adds that the Sud-Ouest is one of those boroughs that feels this way.
According to Pilette, a candidate’s professional and political background is also important for residents of the Sud-Ouest. While Karabajak has lived in the area on and off since 2017, he doesn’t have much experience in the borough. He has experience working with a housing cooperative, but it's one located in Notre-Dame-de-Grâce.
“Opportunities and experiences within the borough didn't materialize for me,” says Karabajak. He tried with a few different organizations, but he says, “They were looking for different profiles.”
One of Karabajak’s opponents is Projet Montréal’s Véronique Fournier. She does have that long track record. She has been a resident of the borough for 25 years. She was a city councillor for the Sud-Ouest from 2009 to 2013.
During her time as city councillor, the borough adopted a mandatory inclusion strategy for housing.
“We ensure that our developments include different types of housing,” says Fournier, something she plans to continue if elected.
However, Karabajak does have a key ally, Craig Sauvé, who has a history of success in the borough. He has been a city councillor in the Sud-Ouest since 2013, winning three elections.
While Karabajak admits to not being the most active person in the borough before this election cycle, he is trying to reach as many residents as he can now. His team recently hosted a launch party at Bar Courcelle in the borough. Residents took advantage of the event to speak with the candidates. Although it wasn’t the first event to reach the public, his team has also attended local events such as the Little Burgundy Festival and Monktoberfest.
He is confident that the reactions he has been getting from the public in this campaign will lead to a win. He says he had success on a street in Little Burgundy.
“Every door we knocked on [they said] ‘on this street, don’t worry about it, we are all voting Transition Montreal,’” says Karabajak.
CJLO's 2025 FUNDING DRIVE
That's right, today on Friday, October 24th CJLO is launching our annual funding drive! From now going until November 8th, you won't want to miss out on amazing progamming and special events all in the love for CJLO! Our goal this year is to raise 15,000$ and we know you can help. Make sure to follow us on instagram (@cjlomtl) to check out everything that's happening and to donate at the following links.
10/24 Punk Show + Zine Launch @lasalarossa (Sotterenea)
10/29 CanCon Music Trivia @barstarbar
11/01 CJLO Divas Live: Halloween Covers Night @lasalarossa
11/05 Live from the Oven Compilation Launch @wills.beer
11/07 Annual All-Night Broadcast @ tune in live on 1690AM/cjlo.com
From the underground to the airwaves, support for CJLO is support for your community!
After 2 years of constant Israeli bombardments on Gaza
Updates:
-U.S.-brokered ceasefire approved by Israel and Hamas, gets violated by Israel 4 days later
-Students go on strike for Palestine on Oct. 7 and rally in front of Concordia's Hall building to demand divestment
-Israeli-affiliated clan kills Palestinian journalist Saleh Al Jafarawi in Gaza City
The Light in the Drain: Bladees Ethereal Frequencies
Bladee, also known as Benjamin Reichwald, is a Swedish singer and rapper, most commonly known as the creator of the Drain Gang (DG) music collective. In 2013, the DG collective was comprised of Ecco2k, Thaiboy Digital, and Whitearmor. Yung Lean is a common collaborator with DG, with the rise of Bladee and Yung Lean happening simultaneously. Their rise helped propel the music genre of cloud rap into the mainstream. Cloud rap is explained by its name; it's a subgenre of hip-hop characterized by hazy, dreamlike, and ambient production. It utilizes reverb and ethereal samples while maintaining a consistent flow lyrically. He performed at MTELUS on October 11th, with Ripsquadd as the opener. Ripsquadd is an Australian-based production collective, featuring members Rip and Lusi. They are frequent Bladee collaborators, utilizing production more focused on the “rap” aspect of Cloudrap, gaining inspiration from icons such as Chief Keef and Gucci Mane.
Cloudrap is a genre that is perfect for the winter, and specifically, DG’s songs are extremely appealing to listen to for an extended period of time. Even though it is hip-hop, the songs maintain a lightness; they flow into each other very easily without being overstimulating. In 2023, I listened to DG exclusively from September to December. I have a public playlist on Spotify called “drainnnnngaaaaaannnnnnggg” by naiaballz, with over 200 songs of DG and their affiliated projects. On a cold, rainy day, walking in downtown Montreal, it is the best soundtrack. It projects a hopefulness but in a very calming way, with a lot of sound effects that are reminiscent of sparkles or twinkles. According to Spotify, Bladee's worldbuilding is what makes his music unique, bringing out a wide spectrum of emotion in slow-burning, susceptible ballads.
Bladee’s album 333 (2020) is my personal favourite, with “Noblest Strive”, “Hero of my Story 3style3”, and “Oh Well” being my top tracks. Looking at the 333 album cover highlights the message behind a lot of Bladee's music; it is a rainbow with a figure releasing a bright light, and a bunch of symbols all over the cover. In the bottom middle and center of the cover is “old Bladee”, with a darker colour scheme to show his depressing past, and he is looking at the truest version of himself in the center. The old Bladee has been trying to escape his internal demons, with the lyrics of Noblest Strive being “Turn your mental prison into a maze/ Turn the maze into a place where you’re safe”. Now that he has finally accepted what is in his brain, his highest self is exuberating light and power. A lot of the symbols on the album cover are bright, distorted beings, such as the Egyptian Gods Ra and Anubis. These two figures represent the Sun and Death, showing how 333 specifically was the turning point of Bladee from making music about his depression and general struggles into his healing energy. The entire album is a metaphor about how the dark and light sides of our mind have to exist simultaneously, and accepting it allows you to be your highest, most divine self.
The concert at MTELUS was part of the Martyr Tour, which focused on his greatest hits, and performing at locations that he hadn’t gone to previously visited. Bladee played my two all-time favourite songs of his, Apple and Into Dust, which are huge throwbacks for the original fans. Looking at the lyrics of his old songs versus some of the lyrics on 333 helps clarify his healing journey. Into Dust is his most “emo” song in my opinion, with the first lyrics being “I’m gonna bleed in the club/ I got weed in my lungs/ I don't need any love”. This song came out in 2014, 6 years before the 333 album. The setlist included songs from almost all of his albums, including The Flag is Raised, which is originally a collaboration with Ecco2k, an iconic member of DG. The crowd was vibrant, with the majority of the audience knowing the lyrics and happily singing along. Overall, Bladee's concert at MTELUS was an incredible culmination of his career to this point and highlighted the trajectory of his musical message.
Offline Concert Goer Surprised By Chiptune Band’s Rock Sensibilities
I had never heard of the band Anamanaguchi going into this; in all honesty, I was here for the opener bands Fanclubwallet and Ovlov. But hours before the show, I put on Anamanaguchi's newest album Anyway on and vibed out to the fuzzy northeastern guitar rock. I loved it, and was excited to see them live. I’ve been very rock n' roll pilled this whole summer, but when I started listening to their older, more popular tracks, I got really confused. ‘Wait, this is video game music. This band that sounds like every other sloppy, crunchy, grungy indie band has its roots in chiptune and 8-bit video game soundtracks?" I was caught off guard. It was a weird, off-kilter day all in all. An unusually warm and wet Tuesday in October, I didn’t even know I was going to this concert till a few hours before doors, but I was hyped to see some great guitar music.
Ottawa’s Fanclubwallet opened, a prime indie-rock band with lots of cute drawings used on their covers, merch, stage visuals, and a video game on their website. Their music feels kind of floral in a dirty way, like when you’re trying to pick a flower (plucky upbeat guitars) but end up ripping the whole plant out of the ground, dirty roots and all (emotionally confronting lyrics with sugary sweet vocals). They played singles and unreleased songs from their upcoming album Living While Dying, the bassist rocked out so hard the cable popped out, and they joined the drummer on the last track.
Hard-hitting noise pop-indie rock band Ovlov from Connecticut followed up; they were really cute, and the music rocked. 50% beard rock, 75% hat rock, 100% post emo grunge whammy bar rock. After every song, the frontman Steve Hartlett would throw his arms up in the air as if to say "YES! That rocked! I love music!" I really enjoyed their set, especially when some guy in the audience would update them on the ongoing Yankees vs Blue Jays baseball game. The Jays were totally crushing the Yankees, which devastated the band. During the headliner’s set, I stood behind Ovlov in the crowd and watched them watching the game on their phone. They promised they will come back to play in Montreal again, and I will be there.
I like it when rock bands bring in electronic elements into their music, whether it's electronic instruments or just layers and layers of effect pedals, I find it creative and expansive. But there is a point when the majority of the sounds I hear from a live band don’t seem to be coming from the stage in front of me. The live music of Anamanaguchi felt very detached from me, standing in a crowd of megafans. I really felt like I was in a movie, and not in a disassociated way, in a Scott Pilgrim way. It felt like I was watching a 2010s YouTube video of a half-animated-half-live-action Manic Pixie Dream Girl chaser rock concert of a chiptune band. It didn’t help that some of their songs had vocalists who weren’t there, or didn’t even have a corporeal body (I do not understand what Hatsune Miku is). All that being said, the crowd was eating it up. All of Petit Campus was bumping and dancing, and I was simply shocked out of my element. I really liked their more rock n roll type songs, and their lighting and stage prop setup was cool: big star shapes with colored and patterned lights and a light-up rope Charli XCX style.
The weirdest part of the concert happened the next day while I was on my podcast grind at work. PanicWorld came on, a show about technology and politics, midway through the episode I was only partly listening to, did I realize the two guests were Peter Berkman and Luke Silas of Anamanaguchi. What the heck? Small world. The podcast hosts deemed the two as the ‘most online guests’ they’ve had on, which made the whole vibe of the band make more sense to me. I don’t consider myself a very online person, though I do addictively open and close and open Instagram. I find I miss out on a lot of (sub)cultural happenings, ie, I still don’t understand who Miku is. The musicians of Anamanaguchi are talented, but the cultural divide between us is too wide and deep for me to traverse at Petit Campus.
Lurker - A Review
Lurker (Streaming on Mubi as of October 10th)
Dir: Alex Russell
Starring: Théadore Pellerin, Archie Madekwe
Runtime: 101 Mins
“What’s the difference between love and obsession?” laments pop musician Oliver in his song. At the same time, off-screen, he is being pelted by paintballs during a music video, which is a great introduction to the film, coming at the midway point of Lurker. The film stems from a new film sub-genre of musicians who have to deal with obsessive, overzealous, delusional fans (Hurry Up Tomorrow, Sweetness 2025), who get overly attached to the celebrity status of the musician. Things get out of control really fast. Helmed by two great performances and the direction/writing from Alex Russell, Lurker is in its own class. We are at times obsessed with the lifestyle that is not our own in the celebrity social media age. Lurker shows the darker side of what it means to be caught up in the lifestyle, and that it’s harder to walk away when you’ve grown accustomed to it. Jealousy, rivalry and blackmail are the darker elements of this cycle. Not just being in celebrity status, but the toll social media takes on your life.
Matthew Morning (Théadore Pellerin) works at a popular clothing store that is frequented by rising pop musician Oliver (Archie Madekwe). Matthew gets the attention of Oliver one day by playing an under-appreciated song he loves over the store’s speakers. This begins the whirlwind of fandom and celebrity culture that Matthew is about to experience as Oliver gives him a backstage pass to an upcoming concert, which leads Oliver to ask him to join his entourage as his documentarian. Being the new member, Matthew is met with skepticism and resistance by Oliver’s friends, but is eventually accepted. He begins to contribute numerous visual elements to Oliver’s upcoming album cycle and becomes so ingrained in the world, he quits his job at the store. The visual elements are more with a handheld camera that gives the film a deep personal documentary intimacy with Oliver and his entourage.
A rising social media figure for his association with Oliver, Matthew is approached by his former co-worker Jamie, who is also a fan of Oliver and wants to meet him. A reluctant Matthew agrees, and Jamie is integrated into the entourage and comes in with his own artistic designs and visions that Oliver loves. On a trip over to London, Matthew tries to sabotage Jamie to get him out of the group, now feeling jealous of the lack of attention. He is promptly shunned by Oliver and his friends afterwards over his actions. Matthew tries to make amends with Oliver and his entourage, who want nothing from him anymore. So what does Matthew conjure up? Getting even with Oliver through the forum of blackmailing him. So begins a cat-and-mouse game between Matthew and Oliver.
Where Lurker is set apart from its counterparts in the subgenera of obsessive fans over musicians is first the strong performances from Théadore Pellerin and Archie Madekwe, who continuously play at the power and control dynamic, never revealing to one another who is in control. This comes in around the final act as described as a cat and mouse thriller. Director and Writer Alex Russell knows how to create these uneasy characters that are obsessive, as he previously worked as a writer on Beef, which saw the power dynamic between Danny Cho (Steven Yeun) and Amy Lau (Ali Wong). As well, the aesthetics of having that home video footage that Matthew documents Oliver’s life is a welcome expression to this sub-genre, giving the film a type of celebrity intimacy. Should this sub-genre of film continue? This year, we were treated to Hurry Up Tomorrow. While the artistic direction was there from director Trey Edward Shults, the Achilles heel of the film comes to a climactic ending of campiness, with the Weekend yelling, “I’m going on tour!” And Jenna Ortega explaining the meaning of his own songs back to him. A type of self-congratulatory victory lap about the songs that everyone is obsessed with. With direction and objectives in the way the film closes in a formal nuance style of a reflection, Lurker has something to say about our obsessions with famous celebrities in this social media age. Sometimes things are not as you envision them, the darker reality of celebrity and social media status.
⭐⭐⭐⭐/⭐⭐⭐⭐⭐
Remi is the host of At The Movies along with regular Co-Host Danny Aubery every Tuesday morning from 9-10 AM only on CJLO 1690 AM. They cover local film festivals, have interviews with directors and actors, and talk about a new film or the classics. They also cover the iconic sounds of present and past film scores and soundtracks. Follow Remi on Letterboxd.
Tron: Ares - A Review
Tron: Ares (Playing in wide release theatres as of October 10th, 2025)
Dir: Joachim Rønning
Starring: Jared Leto, Gretta Lee, Evan Peters, Gillian Anderson, Hasan Minhaj
Tron: Ares is the third installment to the Tron franchise, a sequel to Tron: Legacy (2010), and comes just in the nick of time out of a fifteen-year obscurity of the franchise. The question on everyone's mind is what happens when the simulation enters the real world? At the helm is director Joachim Rønning, with previous experience working with the Disney franchise Pirates of the Caribbean: Dead Men Tell No Tales (2017) and Maleficent: Mistress of Evil (2019). I had two basic criteria for the film to achieve. Deliver a solid score from composers Trent Reznor and Atticus Ross, including some new Nine Inch Nails songs. Secondly, have some decent visual elements and VFX to entertain me for the run time. A bold stroke of confidence to release the score and new music before the release of the film got me excited for what was to come. Jared Leto’s monotone voice of Ares proceeded to kill all other expectations.
There is a battle of control going on over the tech gaming corporation Encom. The antagonistic rival company helmed by Julian Dillinger (Evan Peters) seems to be using the new technology for a militaristic future. Peters has no problem chewing every line of dialogue that the scene permits, but has a greater tension built in the anthology series American Horror Story. Dilinger has created the Ares (Jared Leto), the same name as the Greek God of War, so there is no confusion about his motivations. Ares is a program that is indestructible and ready for the battlefield. However, there is a fault in the program that he must solve. They communicate with each other behind a closed virtual computer system, similar to Jeff Goldblum’s Oz in Wicked. Don’t expect Ares to have deep philosophical conversations with Dillinger; it's more of a system to carry out orders at first. Opposed to Dilinger would be Eve Kim (Greta Lee), who is on the verge of a big discovery. This discovery would lead to helping humanity for the better, then weaponizing it to fight our battles. Maybe this is the counter culture that Tron is looking for, but does Ares develop his own set of ideas and moral compass or just turn into a Terminator to fight the wars for the American militarization industrial complex?
This then leads us to the main focus of the character of Ares (Jared Leto), despite him coming off as monotone and computerized, that’s the character he is playing; he does dabble with trying to understand emotions and make connections. Does Ares grow a sense of morality along the way? What would happen if someone were to cut his strings? Possibly the best part of Ares is when the dialogue is silent and the score sets the pace alongside some great motorcycle chases or some of the action combat scenes, then Ares is deep in a monotone thought process. The action sequences outweigh any clunky dialogue or storyline if you like your action films VFX-heavy.
Maybe the true dull failure of Tron: Ares is not using the actors to their full potential and strengths. A prime example is that Hasan Minhaj could have been great for comedic relief in this dull film; however, no one was laughing, and it’s because there were no points for him to have a comedic moment. Possibly one moment in the beginning involving some prop comedy, but it vanishes in a second when a character thwarts his comedic attempt. Instead, we get a lead out of Jared Leto, who plays Ares as a monotone one-dimensional computer simulation whose empathy grows, but Siri has more vocal expression and can tell you jokes. Stay for the music, sound design and possibly some of the visual elements. Some deep fans of the series may have some easter eggs sprinkled in. Leave for the exit when the script has lost its focus, the militarization industrial complex or how AI can be used to save humanity, and the characters seem stuck in the simulation that they so desperately want to get out of.
⭐⭐/⭐⭐⭐⭐⭐
Remi is the host of At The Movies, along with regular Co-Host Danny Aubery, every Tuesday morning from 9-10 AM only on CJLO 1690 AM. They cover local film festivals, have interviews with directors and actors, and talk about a new film or the classics. As well as the iconic sounds of present and past film scores and soundtracks. Follow Remi on Letterboxd.
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