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The matrix of pointlessness is revisited in this tediously complex science fiction film, more a screensaver than an actual film. This is a third installment to the original movie Tron from the early 80s, a movie that was mould-breaking and courageously innovative for its day in a way that escapes this one and its predecessor Tron: Legacy from the previous decade. The new Tron film almost awakens just one time – when Evan Peters' character gets a slap in the face from Gillian Anderson playing his mother, in an old-fashioned bit of real-world action. That's a bit of firm parenting you might feel like handing out to every producer involved in this movie, and it's sad to see the estimable Greta Lee and Jodie Turner-Smith being made to look so lifeless.

Story Summary of Tron: Ares

The situation now is that an evil AI corporation with the obviously criminal name of Dillinger Corp has become a competitor to the virtual reality firm Encom, originally set up in the 1980s gaming period by genius trailblazer Kevin Flynn, played by Jeff Bridges. This corporation (originally set up by Encom executive Ed Dillinger, played by David Warner) is headed by the founder’s odiously nerdish grandson's character Julian Dillinger (Evan Peters), who has a ambitious scheme to design and create lucrative items such as indestructible soldiers and armored vehicles in the virtual reality grid and then transfer them into actual reality using a sort of 3D printer.

The problem is that no matter how intimidating, these creations disintegrate after twenty-nine minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has uncovered the MacGuffin-y “permanence code” which can keep these things alive permanently, and even keeps it on her person on a extremely basic USB drive. So the dreadful Julian deploys his enforcer on her: Ares, the superhuman fighter which can exit the virtual realm for twenty-nine minutes at a time but which, in the time-honoured way of androids, is beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith's performance plays Ares's stoic deputy Athena's role and unfortunate Bridges has a wooden legacy appearance in sage-like white garments, like a Poundshop Jor-El on Krypton's setting.

Character and Performance Breakdown

Moreover, Ares – the hero of the film's name – is acted by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, touches that were possibly designed by typing the words “extremely annoying” into an AI human creation programme. No one who remembers the 1990s television classic My So-Called Life will ever find it in their hearts to be completely harsh about Jared Leto, and I was incidentally quite amused by his broad (and widely misinterpreted) humorous performance in Ridley Scott's movie House of Gucci. But Jared Leto is unremittingly, unrelentingly terrible in this film, although his performance isn't aided by a limp plot point which is supposed to allow him to show flashes of “compassion” for Eve Kim's role and subcontract all the villainous actions to Athena's character, thus making her slightly more engaging. It is supposed to be charming when Ares says how he adores 1980s electronic music and that Depeche Mode band are superior to Mozart's compositions.

Series Features and Overall Impact

Consistent with the brand-identity of the series, there are motorcycles from the VR netherworld which whizz about the place in linear paths, conforming to the rectilinear design of antique arcade games (or indeed dance clubs); a single bike even shoots out a death ray which cuts a cop car in half. But there is no drama or danger or human interest throughout. This franchise currently appears as relevant as an in-car CD player.