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The matrix of futility is revisited in this tediously complex sci-fi film, more a screensaver than an real cinematic experience. This is a threequel to the classic Tron film from the early 80s, a film that was mould-breaking and courageously innovative 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 slap in the face from Gillian Anderson playing his mother, in an traditional bit of analogue reality. This is a bit of firm parenting you might want to administering to all the producers engaged in this film, and it's unfortunate to see the respected Greta Lee and Jodie Turner-Smith being made to look so uninspired.

Story Summary of The New Tron Film

The situation currently 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, played by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger, acted by David Warner) is led by the founder’s odiously nerdish grandson Julian Dillinger (Evan Peters), who has a grand plan to design and create lucrative items such as indestructible soldiers and armored vehicles in the VR world and then transfer them into actual reality using a sort of three-dimensional printer.

The issue is that however fearsome, these creations crumble into dust after 29 minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has uncovered the MacGuffin-y “permanence code” which can keep these things alive for ever, and even stores it on her person on a extremely basic flashdrive. So the ghastly Julian sets his attack dog 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 beginning to show signs of disobeying what he's told. Jodie Turner-Smith portrays Ares's stoic deputy Athena's role and unfortunate Bridges has a wooden legacy appearance in wise white robes, like a Poundshop Jor-El on Krypton.

Character and Performance Breakdown

Moreover, Ares – the hero of the title – is played by Jared Leto with hipsterish long hair, facial hair and subtly omniscient grin, touches that were perhaps created by inputting the words “incredibly irritating” into an AI human creation programme. Nobody who remembers the 1990s television 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 broad (and widely misinterpreted) humorous performance in Ridley Scott's movie House of Gucci. But Leto is unremittingly, unrelentingly terrible here, although his performance isn't aided by a weak storyline which is intended to allow him to display glimpses of “compassion” for Greta Lee's character and subcontract all the villainous actions to Athena, thus rendering her marginally more interesting. It is supposed to be adorable when Ares says how he adores 1980s electronic music and that Depeche Mode are better than Mozart.

Series Features and Overall Impact

Consistent with the franchise identity of the series, there are motorbikes from the virtual underworld which whizz about the place in long straight lines, conforming to the rectilinear design of antique arcade games (or indeed nightclubs); one even shoots out a lethal beam which cuts a cop car in two. But there is no drama or danger or emotional engagement throughout. This franchise currently appears as relevant as an in-car CD player.