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The framework of pointlessness is revisited in this tediously complex science fiction movie, closer to a screensaver than an real cinematic experience. It's a threequel to the original movie Tron from 1982, a movie that was mould-breaking and boldly pioneering for its day in a way that eludes this film and its predecessor Tron Legacy from the previous decade. The new Tron film almost awakens just once – when Evan Peters' character gets a slap in the face from Gillian Anderson portraying his mum, in an old-fashioned bit of analogue reality. This is a bit of firm parenting you might feel like administering to all the producers involved in this movie, and it's unfortunate to see the estimable Greta Lee and Jodie Turner-Smith being made to look so uninspired.

Plot Overview of Tron: Ares

The scenario currently is that an malicious artificial intelligence company with the obviously criminal name of Dillinger Corp has become a competitor to the virtual reality firm Encom Inc, originally set up in the 80s arcade-game era by genius trailblazer Kevin Flynn's character, played by Jeff Bridges. This corporation (originally set up by Encom's executive Ed Dillinger's role, acted by David Warner) is headed by the founder’s annoyingly geeky grandson's character Julian (Evan Peters), who has a ambitious scheme to design and create profitable things such as invincible troops and armored vehicles in the VR world and then export them into the real world using a sort of 3D printer.

The issue is that however fearsome, these things crumble into dust after 29 minutes. But Encom's current CEO Eve Kim (Greta Lee) has uncovered the MacGuffin-y “permanence algorithm” which can keep these things alive permanently, and even keeps it on her person on a very low-tech USB drive. So the ghastly Julian Dillinger sets his attack dog on her: Ares, the superhuman fighter which can exit the virtual realm for 29 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 portrays Ares's stoic deputy Athena's role and unfortunate Jeff Bridges has a leaden legacy cameo in wise white robes, like a budget Jor-El on Krypton.

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 faintly all-knowing smile, details that were possibly created by typing the words “extremely annoying” into an artificial intelligence character generator. Nobody who remembers the 1990s television classic My So-Called Life will ever find it in their hearts to be completely harsh about Mr Leto, and I was incidentally quite amused by his broad (and widely misinterpreted) comic turn in Ridley Scott's movie House of Gucci. But Jared Leto is consistently, unrelentingly terrible in this film, although he isn't helped by a weak storyline which is intended to allow him to display glimpses of “compassion” for Eve Kim's role and subcontract all the villainous actions to Athena, thus making 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 band are superior to Mozart.

Franchise Elements and Final Impression

Consistent with the franchise identity of the franchise, there are motorcycles from the virtual underworld which whizz about the place in linear paths, adhering to the rectilinear design of antique arcade games (or indeed nightclubs); one even shoots out a lethal beam which slices a cop car in two. But there is zero tension or danger or emotional engagement anywhere. This series currently appears as relevant as an in-car CD player.