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The matrix of futility is revisited in this mind-bendingly dull sci-fi movie, more a screensaver than an real cinematic experience. It's a third installment to the original movie Tron from 1982, a movie that was mould-breaking and boldly pioneering for its day in a way that escapes 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' character gets a smack in the face from Gillian Anderson portraying his mother, in an traditional bit of analogue reality. This is a piece of tough love you might feel like handing out to every producer involved in this film, and it's unfortunate to see the respected Greta Lee's role and Jodie Turner-Smith's character being made to look so uninspired.

Plot Overview of Tron: Ares

The scenario now is that an evil AI corporation with the obviously criminal name of Dillinger has become a rival to the virtual reality firm Encom, first established in the 80s arcade-game era by brilliant innovator Kevin Flynn, portrayed by Jeff Bridges. This corporation (originally set up by Encom executive Ed Dillinger, acted by David Warner) is headed by the founder's odiously nerdish grandson Julian (Evan Peters), who has a grand plan to develop and produce profitable things such as invincible troops and armored vehicles in the VR world and then transfer them into actual reality using a kind of three-dimensional printer.

The problem is that no matter how intimidating, these things crumble into dust after twenty-nine minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has discovered the MacGuffin-y “permanence algorithm” which can keep these things alive permanently, and even keeps it on her person on a very low-tech flashdrive. So the dreadful Julian Dillinger sets his attack dog on her: Ares, the superhuman fighter which can leave the VR world for twenty-nine minutes at a time but which, in the time-honoured way of robots, is beginning to show signs of not doing what he is commanded. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena's role and unfortunate Jeff Bridges has a wooden legacy appearance in wise white robes, like a budget Jor-El on Krypton's setting.

Acting and Roles Analysis

Moreover, Ares – the protagonist of the film's name – is acted by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, touches that were perhaps created by typing the words “incredibly irritating” into an artificial intelligence character generator. No one who remembers the 90s TV classic My So-Called Life series will always find it in their hearts to be completely harsh about Jared Leto, and I was also quite amused by his expansive (and widely misinterpreted) humorous performance in Ridley Scott's movie House of Gucci. But Leto is unremittingly, unrelentingly awful here, although he isn't helped by a weak storyline which is intended to allow him to display glimpses of “empathy” for Eve Kim's role and subcontract all the villainous actions to Athena, thus rendering her slightly more engaging. It is supposed to be charming when Ares the character says how he adores 80s synth pop and that Depeche Mode band are better than Mozart's compositions.

Franchise Elements and Overall Impact

Consistent with the franchise identity of the series, there are motorbikes from the virtual underworld which whizz about the environment in long straight lines, adhering to the angular layout of classic video games (or indeed nightclubs); a single bike even emits a death ray which cuts a cop car in half. But there is zero tension or jeopardy or emotional engagement anywhere. This franchise currently appears as relevant as an in-car CD player.