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The framework of pointlessness is reloaded in this mind-bendingly dull sci-fi film, closer to a screensaver than an real cinematic experience. This is a third installment to the classic Tron film from the early 80s, a movie that was groundbreaking and courageously innovative for its time in a way that eludes this film and its forerunner Tron Legacy from the previous decade. Tron: Ares nearly comes to life just one time – when Evan Peters' character gets a smack in the face from Gillian Anderson playing his mother, in an traditional bit of analogue reality. That's a bit of firm parenting you might feel like administering to every producer engaged in this film, and it's sad to see the respected Greta Lee and Jodie Turner-Smith's character being made to look so uninspired.

Plot Overview 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 1980s gaming period by brilliant innovator Kevin Flynn, played by Jeff Bridges. This Dillinger (originally set up by Encom's executive Ed Dillinger's role, acted by David Warner) is led by the founder’s odiously nerdish grandson Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce profitable things such as indestructible soldiers and tanks in the VR world and then export them into actual reality using a sort of three-dimensional printer.

The problem is that however fearsome, these creations disintegrate after 29 minutes. But Encom's current CEO Eve Kim (Greta Lee) has uncovered the MacGuffin-y “permanence algorithm” which can maintain these entities 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 leave the VR world for twenty-nine 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 deadpan second-in-command Athena's role and unfortunate Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Character and Performance Analysis

Moreover, Ares – the protagonist of the title – is acted by Jared Leto with trendy lengthy locks, beard and faintly all-knowing smile, touches that were possibly designed by typing the words “incredibly irritating” into an AI human creation programme. Nobody who recalls the 90s TV classic My So-Called Life will always find it in their hearts to be completely harsh about Jared Leto, and I was also very entertained by his expansive (and widely misinterpreted) humorous performance in Ridley Scott's movie House of Gucci. But Leto is consistently, unrelentingly terrible here, 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's character, thus rendering her slightly more engaging. It is supposed to be adorable when Ares says how he adores 80s synth pop and that Depeche Mode band are superior to Mozart.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the series, there are motorcycles from the virtual underworld which speed around the environment in long straight lines, conforming to the angular layout of antique arcade games (or even dance clubs); a single bike even shoots out a lethal beam which cuts a police vehicle in two. But there is zero tension or jeopardy or human interest anywhere. This series now looks as relevant as an automobile CD system.