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The matrix of futility is reloaded in this tediously complex sci-fi film, closer to a screensaver than an real cinematic experience. This is a third installment to the original movie Tron from 1982, a movie that was groundbreaking and boldly pioneering for its day in a way that eludes this one and its forerunner Tron Legacy from the previous decade. The new Tron film almost comes to life just one time – when Evan Peters gets a smack in the face from Gillian Anderson's character playing his mum, 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 film, and it's sad to see the respected Greta Lee and Jodie Turner-Smith's character being made to look so lifeless.

Plot Overview of Tron: Ares

The situation currently is that an evil AI corporation with the obviously criminal name of Dillinger has become a competitor to the virtual reality firm Encom, first established in the 80s arcade-game era by brilliant innovator Kevin Flynn, portrayed by Jeff Bridges. This Dillinger (originally set up by Encom's executive Ed Dillinger's role, acted by David Warner) is led by the founder's annoyingly geeky grandson's character Julian (Evan Peters), who has a ambitious scheme to design and create lucrative items such as invincible troops and armored vehicles in the virtual reality grid and then export them into the real world using a kind of three-dimensional printer.

The problem is that however fearsome, these creations crumble into dust after twenty-nine minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has uncovered the plot-driving “permanence code” which can keep these things alive for ever, and even stores it on her person on a very low-tech USB drive. So the dreadful Julian Dillinger deploys his enforcer on her: Ares the warrior, the superhuman fighter which can leave the VR world for 29 minutes at a time but which, in the traditional way of androids, is starting to exhibit symptoms of disobeying what he is commanded. Jodie Turner-Smith's performance portrays Ares's stoic deputy Athena's role and poor Bridges has a wooden legacy appearance in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Acting and Roles Analysis

And Ares himself – the hero of the title – is played by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, details that were perhaps designed by inputting the words “extremely annoying” into an AI human creation programme. No one who recalls the 90s TV classic My So-Called Life will always find it in their hearts to be completely harsh about Mr Leto, and I was also very entertained by his expansive (and critically misunderstood) comic turn in Ridley Scott's movie House of Gucci. But Leto is consistently, persistently awful here, although his performance isn't aided by a weak storyline which is supposed to allow him to show flashes of “empathy” for Greta Lee's character and delegate all the villainous actions to Athena's character, thus rendering her marginally more interesting. It is meant to be charming when Ares the character says how he adores 1980s electronic music and that Depeche Mode band are better than Mozart's compositions.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the series, there are motorbikes from the VR netherworld which speed around the place in linear paths, conforming to the angular layout of antique arcade games (or indeed dance clubs); one even emits a lethal beam which slices a police vehicle in two. But there is zero tension or jeopardy or human interest anywhere. This franchise now looks about as urgently contemporary as an in-car CD player.