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The matrix of futility is reloaded in this tediously complex sci-fi movie, closer to a screensaver than an real cinematic experience. It's a third installment to the classic Tron film from the early 80s, a movie that was mould-breaking and boldly pioneering for its time in a way that eludes this one and its forerunner Tron: Legacy from 2010. The new Tron film almost awakens just one time – when Evan Peters' character gets a smack in the face from Gillian Anderson's character portraying his mother, in an traditional bit of analogue reality. This is a piece of tough love you might feel like handing out to all the producers involved in this film, and it's unfortunate to see the estimable Greta Lee and Jodie Turner-Smith being made to look so uninspired.

Story Summary of Tron: Ares

The situation now is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger Corp has become a rival to the VR company Encom Inc, first established in the 80s arcade-game era by brilliant innovator Kevin Flynn's character, played by Jeff Bridges. This Dillinger (initially founded by Encom's executive Ed Dillinger's role, acted by David Warner) is headed by the founder's annoyingly geeky grandson Julian (Evan Peters), who has a grand plan to design and create profitable things such as invincible troops and armored vehicles in the VR world and then export them into actual reality using a sort of 3D printer.

The problem is that however fearsome, these creations disintegrate after 29 minutes. But Encom's present chief executive Eve Kim (Greta Lee) has discovered the plot-driving “permanence algorithm” which can keep these things alive for ever, and even stores it on her person on a very low-tech USB drive. So the ghastly 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 time-honoured way of robots, is starting to exhibit symptoms of not doing what he's told. Jodie Turner-Smith's performance portrays Ares's stoic deputy Athena and poor Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Acting and Roles Analysis

And Ares himself – the hero of the film's name – is acted by Jared Leto with trendy lengthy locks, beard and faintly all-knowing smile, details that were perhaps designed by inputting the words “incredibly irritating” into an artificial intelligence character generator. No one who recalls the 90s TV classic My So-Called Life will always find it in their hearts to be totally rude about Mr Leto, and I was also very entertained by his broad (and critically misunderstood) humorous performance in Ridley Scott's movie House of Gucci. But Leto is consistently, unrelentingly awful in this film, although his performance isn't aided by a weak storyline which is supposed to allow him to show flashes of “compassion” for Greta Lee's character and subcontract all the badass wickedness to Athena, thus making her slightly more engaging. It is supposed to be charming when Ares the character says how he loves 80s synth pop and that Depeche Mode band are better than Mozart's compositions.

Franchise Elements and Overall Impact

And in keeping with the franchise identity of the series, there are motorbikes from the VR netherworld which whizz about the place in linear paths, conforming to the rectilinear design of classic video games (or indeed dance clubs); a single bike even shoots out a death ray which slices a cop car in half. But there is no drama or jeopardy or emotional engagement throughout. This series currently appears as relevant as an in-car CD player.