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The framework of pointlessness is revisited in this tediously complex sci-fi movie, more a screensaver than an real cinematic experience. It's a threequel to the classic Tron film from 1982, a film that was groundbreaking and boldly pioneering for its day in a way that eludes this one and its predecessor Tron: Legacy from the previous decade. Tron: Ares almost comes to life just one time – when Evan Peters' character gets a slap in the face from Gillian Anderson portraying his mum, in an traditional bit of real-world action. This is a bit of firm parenting you might feel like handing out to every producer involved in this film, and it's sad to see the respected Greta Lee's role and Jodie Turner-Smith being made to look so lifeless.

Plot Overview of The New Tron Film

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, first established in the 80s arcade-game era by brilliant innovator Kevin Flynn, played by Jeff Bridges. This corporation (originally set up by Encom executive Ed Dillinger, acted by David Warner) is led by the founder’s annoyingly geeky grandson Julian Dillinger (Evan Peters), who has a ambitious scheme to design and create lucrative items such as invincible troops and tanks in the virtual reality grid 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 twenty-nine minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has uncovered the plot-driving “permanence code” which can keep these things alive for ever, and even stores it on her person on a very low-tech flashdrive. So the ghastly Julian Dillinger 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 robots, is beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena and poor Bridges has a wooden legacy appearance in wise white robes, like a Poundshop Jor-El on Krypton.

Character and Performance Breakdown

And Ares himself – the protagonist of the title – is played by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, details that were possibly designed by typing the words “incredibly irritating” into an artificial intelligence character generator. 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 Mr 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 unremittingly, persistently terrible in this film, although he isn't helped by a limp plot point which is intended to allow him to display glimpses of “empathy” for Greta Lee's character and subcontract all the villainous actions to Athena's character, thus making her marginally more interesting. It is meant to be charming when Ares says how he adores 80s synth pop and that Depeche Mode band are superior to Mozart.

Franchise Elements and Final Impression

Consistent with the brand-identity of the franchise, there are motorbikes from the virtual underworld which whizz about the place in linear paths, conforming to the rectilinear design of classic video games (or indeed nightclubs); one even emits a lethal beam which cuts a police vehicle in two. But there is zero tension or danger or emotional engagement throughout. This franchise currently appears as relevant as an in-car CD player.