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The framework of pointlessness is reloaded in this tediously complex science fiction movie, more a screensaver than an actual film. This is a third installment to the original movie Tron from 1982, a film that was groundbreaking and boldly pioneering for its time in a way that eludes this film and its forerunner Tron Legacy from the previous decade. Tron: Ares almost comes to life just once – when Evan Peters gets a smack in the face from Gillian Anderson's character playing his mother, in an old-fashioned bit of analogue reality. That's a piece of tough love you might feel like administering to every producer engaged in this movie, and it's sad to see the respected Greta Lee's role and Jodie Turner-Smith being made to look so uninspired.

Story Summary of The New Tron Film

The situation currently is that an malicious artificial intelligence company with the obviously criminal name of Dillinger Corp has become a competitor to the virtual reality firm Encom Inc, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger's role, acted by David Warner) is headed by the founder’s odiously nerdish grandson Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce lucrative items such as indestructible soldiers and tanks in the VR world and then transfer them into the real world using a kind of 3D printer.

The issue is that no matter how intimidating, these things crumble into dust after twenty-nine minutes. But Encom's present chief executive Eve Kim (Greta Lee) has discovered the plot-driving “permanence algorithm” which can keep these things alive for ever, and even keeps it on her person on a very low-tech flashdrive. So the ghastly Julian deploys his enforcer on her: Ares the warrior, the humanoid uber-warrior which can exit the virtual realm for 29 minutes at a time but which, in the time-honoured way of androids, is starting to exhibit symptoms of disobeying what he's told. Jodie Turner-Smith plays Ares's deadpan second-in-command Athena and unfortunate Bridges has a leaden legacy cameo in wise white robes, like a budget Jor-El on Krypton's setting.

Character and Performance Analysis

And Ares himself – the protagonist of the title – is acted by Jared Leto with hipsterish long hair, beard and subtly omniscient grin, details that were perhaps created by inputting the words “extremely annoying” into an artificial intelligence character generator. No one who recalls the 90s TV classic My So-Called Life series will always find it in their hearts to be completely harsh about Mr Leto, and I was also very entertained by his broad (and critically misunderstood) humorous performance in Ridley Scott's movie House of Gucci. But Leto is unremittingly, unrelentingly terrible in this film, although his performance isn't aided by a weak storyline which is intended to allow him to display glimpses of “compassion” for Eve Kim's role and subcontract all the villainous actions to Athena, thus making her marginally more interesting. It is supposed to be charming when Ares says how he loves 1980s electronic music and that Depeche Mode band are better than Mozart.

Franchise Elements and Final Impression

Consistent with the brand-identity of the series, there are motorbikes from the VR netherworld which whizz about the place in long straight lines, adhering to the angular layout of antique arcade games (or even dance clubs); a single bike even emits a lethal beam which slices a police vehicle in half. But there is no drama or danger or emotional engagement anywhere. This series now looks as relevant as an in-car CD player.