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The matrix of futility is reloaded in this tediously complex sci-fi movie, more a screensaver than an actual film. It's a third installment to the original movie Tron from 1982, a movie that was groundbreaking and boldly pioneering for its time in a way that eludes this film and its predecessor Tron: Legacy from the previous decade. Tron: Ares nearly comes to life just once – when Evan Peters' character gets a smack in the face from Gillian Anderson's character portraying his mum, in an old-fashioned bit of analogue reality. That's a bit of firm parenting you might want to administering to all the producers involved in this film, and it's unfortunate 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 scenario currently is that an evil AI corporation with the obviously criminal name of Dillinger has become a rival to the virtual reality firm Encom Inc, first established in the 80s arcade-game era by brilliant innovator Kevin Flynn, played by Jeff Bridges. This corporation (initially founded by Encom executive Ed Dillinger's role, 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 lucrative items such as invincible troops and armored vehicles 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 creations disintegrate after 29 minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has uncovered the plot-driving “permanence code” which can maintain these entities permanently, and even keeps it on her person on a very low-tech flashdrive. So the ghastly Julian sets his attack dog on her: Ares the warrior, 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's told. Jodie Turner-Smith portrays Ares's deadpan second-in-command Athena 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 hipsterish long hair, beard and subtly omniscient grin, details that were possibly designed by inputting the words “extremely annoying” into an AI human creation programme. No one who remembers the 90s TV classic My So-Called Life will ever find it in their hearts to be totally rude about Jared Leto, and I was also quite amused by his broad (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Leto is unremittingly, unrelentingly terrible here, although his performance isn't aided by a limp plot point which is intended to allow him to show flashes of “empathy” for Greta Lee's character and delegate all the badass wickedness to Athena, thus rendering her marginally more interesting. It is supposed to be adorable when Ares the character says how he adores 80s synth pop and that Depeche Mode are better than Mozart's compositions.

Franchise Elements and Overall Impact

Consistent with the franchise identity of the franchise, there are motorbikes from the virtual underworld which whizz about the environment in long straight lines, adhering to the rectilinear design of antique arcade games (or even nightclubs); a single bike even shoots out a lethal beam which slices a cop car in half. But there is zero tension or danger or emotional engagement throughout. This franchise now looks about as urgently contemporary as an in-car CD player.