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The framework of pointlessness is reloaded in this tediously complex science fiction film, more a screensaver than an real cinematic experience. This is a third installment to the classic Tron film from the early 80s, a film that was mould-breaking and boldly pioneering for its day in a way that eludes this one and its predecessor Tron Legacy from the previous decade. The new Tron film almost comes to life just once – when Evan Peters gets a smack in the face from Gillian Anderson's character portraying his mum, in an old-fashioned bit of real-world action. That's a bit of firm parenting you might feel like administering 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 scenario now is that an malicious artificial intelligence company with the obviously criminal name of Dillinger has become a rival to the virtual reality firm Encom Inc, originally set up in the 80s arcade-game era by genius trailblazer Kevin Flynn's character, portrayed by Jeff Bridges. This corporation (originally set up by Encom's executive Ed Dillinger's role, played by David Warner) is led by the founder’s odiously nerdish grandson's character Julian (Evan Peters), who has a grand plan 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 kind of 3D printer.

The problem is that no matter how intimidating, these things disintegrate after twenty-nine minutes. But Encom's current CEO Eve Kim (Greta Lee) has discovered the MacGuffin-y “permanence code” which can keep these things alive permanently, and even stores it on her person on a very low-tech flashdrive. So the dreadful Julian Dillinger sets his attack dog on her: Ares, the humanoid uber-warrior which can leave the VR world for 29 minutes at a time but which, in the traditional way of robots, is starting to exhibit symptoms of not doing what he is commanded. Jodie Turner-Smith portrays 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.

Character and Performance Breakdown

Moreover, Ares – the protagonist of the film's name – is played by Jared Leto with hipsterish long hair, facial hair and subtly omniscient grin, details that were perhaps designed by inputting the words “extremely annoying” into an AI human creation programme. No one who remembers the 1990s television classic My So-Called Life series will ever find it in their hearts to be totally rude about Jared Leto, and I was incidentally quite amused by his broad (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is consistently, persistently 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 Eve Kim's role and delegate all the badass wickedness to Athena, thus rendering 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 better than Mozart.

Series Features and Overall Impact

Consistent with the brand-identity of the series, there are motorcycles from the virtual underworld which speed around the environment in long straight lines, adhering to the angular layout of antique arcade games (or even nightclubs); a single bike even shoots out a death ray which slices a police vehicle in two. But there is zero tension or jeopardy or emotional engagement throughout. This franchise currently appears as relevant as an automobile CD system.