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The matrix of futility is revisited in this tediously complex sci-fi film, closer to a screensaver than an real cinematic experience. This is a threequel to the original movie Tron from 1982, a film that was mould-breaking and boldly pioneering for its time in a way that escapes this film and its predecessor Tron Legacy from 2010. The new Tron film almost awakens just once – when Evan Peters' character gets a smack in the face from Gillian Anderson portraying his mum, in an old-fashioned bit of analogue reality. That's a bit of firm parenting you might feel like handing out to every producer engaged in this movie, and it's sad to see the respected Greta Lee's role and Jodie Turner-Smith being made to look so uninspired.

Story Summary of Tron: Ares

The situation now is that an malicious artificial intelligence company with the obviously criminal name of Dillinger has become a competitor to the virtual reality firm Encom Inc, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This corporation (initially founded by Encom's executive Ed Dillinger, played by David Warner) is headed by the founder’s annoyingly geeky grandson Julian (Evan Peters), who has a ambitious scheme to develop and produce lucrative items such as invincible troops and tanks in the VR world and then export them into the real world using a kind of three-dimensional printer.

The issue is that no matter how intimidating, these creations crumble into dust after twenty-nine minutes. But Encom's present chief executive Eve Kim (Greta Lee) has uncovered the plot-driving “permanence algorithm” which can maintain these entities permanently, and even keeps it on her person on a very low-tech flashdrive. So the dreadful Julian 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 androids, is beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith plays Ares's deadpan second-in-command Athena and unfortunate Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Acting and Roles Analysis

Moreover, Ares – the protagonist of the title – is acted by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, touches that were perhaps created by typing the words “incredibly irritating” into an AI human creation programme. Nobody who recalls the 1990s television classic My So-Called Life series will always find it in their hearts to be completely harsh about Mr Leto, and I was also quite amused by his expansive (and widely misinterpreted) humorous performance in Ridley Scott's film House of Gucci. But Leto is unremittingly, unrelentingly terrible here, although his performance isn't aided by a limp plot point which is supposed to allow him to display glimpses of “empathy” for Eve Kim's role and subcontract all the villainous actions to Athena's character, thus making her slightly more engaging. It is meant to be charming when Ares says how he adores 1980s electronic music and that Depeche Mode band are better than Mozart.

Series Features and Final Impression

And in keeping with the franchise identity of the franchise, there are motorbikes from the virtual underworld which speed around the place in linear paths, conforming to the angular layout of classic video games (or even dance clubs); one even emits a lethal beam which slices a police vehicle in two. But there is zero tension or jeopardy or emotional engagement anywhere. This franchise now looks about as urgently contemporary as an automobile CD system.