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The framework of pointlessness is reloaded in this mind-bendingly dull science fiction movie, closer to a screensaver than an actual film. This is a threequel to the classic Tron film from 1982, a film that was groundbreaking and courageously innovative for its time in a way that eludes this film and its predecessor Tron: Legacy from the previous decade. The new Tron film nearly comes to life just one time – when Evan Peters' character gets a smack in the face from Gillian Anderson's character playing his mum, in an old-fashioned bit of real-world action. That's a piece of tough love you might want to handing out to all the producers engaged in this film, 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 scenario currently is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger has become a rival to the virtual reality firm Encom Inc, first established in the 1980s gaming period by brilliant innovator Kevin Flynn's character, played by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger's role, acted by David Warner) is led by the founder's annoyingly geeky grandson Julian (Evan Peters), who has a grand plan to develop and produce profitable things such as invincible troops and armored vehicles in the VR world and then transfer them into actual reality using a kind of three-dimensional printer.

The problem is that however fearsome, these creations disintegrate after twenty-nine minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has uncovered the plot-driving “permanence algorithm” which can keep these things alive for ever, and even stores it on her person on a extremely basic flashdrive. So the dreadful Julian Dillinger sets his attack dog on her: Ares the warrior, the superhuman fighter which can exit the virtual realm 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's told. Jodie Turner-Smith plays Ares's stoic deputy Athena's role and poor Bridges has a wooden legacy appearance in wise white robes, like a budget Jor-El on Krypton's setting.

Acting and Roles Analysis

Moreover, Ares – the protagonist of the film's name – is acted by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, details that were perhaps created by inputting the words “extremely annoying” into an artificial intelligence character generator. No one who remembers the 90s TV classic My So-Called Life series will ever find it in their hearts to be completely harsh about Mr Leto, and I was also quite amused by his expansive (and critically misunderstood) comic turn in Ridley Scott's movie House of Gucci. But Jared Leto is consistently, unrelentingly terrible here, although he isn't helped by a weak storyline which is supposed to allow him to display glimpses of “empathy” for Greta Lee's character and delegate all the villainous actions to Athena, thus making her marginally more interesting. It is supposed to be adorable when Ares says how he adores 1980s electronic music and that Depeche Mode are superior to Mozart's compositions.

Series Features and Overall Impact

Consistent with the brand-identity of the franchise, there are motorbikes from the virtual underworld which speed around the place in linear paths, adhering to the angular layout of classic video games (or indeed dance clubs); one even emits a lethal beam which cuts a police vehicle in two. But there is zero tension or danger or emotional engagement anywhere. This franchise currently appears as relevant as an in-car CD player.