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The matrix of pointlessness is revisited in this tediously complex science fiction film, closer to a screensaver than an actual film. It's a threequel to the classic Tron film from the early 80s, a movie that was groundbreaking and boldly pioneering for its time in a way that eludes this one and its forerunner Tron Legacy from the previous decade. The new Tron film almost comes to life just once – when Evan Peters' character gets a smack in the face from Gillian Anderson's character playing his mother, in an old-fashioned bit of real-world action. That's a piece of tough love you might want to handing out to every producer involved in this film, and it's unfortunate to see the estimable Greta Lee and Jodie Turner-Smith being made to look so lifeless.

Story Summary of Tron: Ares

The scenario currently is that an evil AI corporation with the obviously criminal name of Dillinger Corp has become a rival to the virtual reality firm Encom Inc, originally set up in the 1980s gaming period by brilliant innovator Kevin Flynn's character, portrayed by Jeff Bridges. This Dillinger (originally set up by Encom's executive Ed Dillinger, acted by David Warner) is led by the founder's annoyingly geeky grandson Julian Dillinger (Evan Peters), who has a grand plan to design and create lucrative items such as indestructible soldiers and tanks in the virtual reality grid and then export them into the real world using a kind of three-dimensional printer.

The issue is that however fearsome, these creations disintegrate after 29 minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has uncovered the plot-driving “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 sets his attack dog on her: Ares the warrior, the superhuman fighter which can leave the VR world for twenty-nine minutes at a time but which, in the time-honoured way of androids, is starting to exhibit symptoms of disobeying what he is commanded. Jodie Turner-Smith portrays Ares's stoic deputy Athena's role and unfortunate Bridges has a wooden legacy appearance in sage-like white garments, like a Poundshop Jor-El on Krypton's setting.

Acting and Roles Analysis

Moreover, Ares – the hero of the film's name – is acted by Jared Leto with trendy lengthy locks, beard and subtly omniscient grin, details that were possibly designed by typing the words “incredibly irritating” into an artificial intelligence character generator. Nobody who recalls 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 very entertained by his broad (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Leto is consistently, persistently awful here, although he isn't helped by a limp plot point which is intended to allow him to display glimpses of “compassion” for Greta Lee's character and delegate all the badass wickedness to Athena's character, thus rendering her slightly more engaging. It is supposed to be adorable when Ares the character says how he loves 80s synth pop and that Depeche Mode are better than Mozart's compositions.

Franchise Elements and Final Impression

Consistent with the brand-identity of the series, there are motorbikes from the VR netherworld which speed around the environment in long straight lines, conforming to the angular layout of classic video games (or indeed dance clubs); one even shoots out a death ray which cuts a cop car in half. But there is zero tension or jeopardy or emotional engagement throughout. This franchise now looks as relevant as an in-car CD player.