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The framework of pointlessness is revisited in this tediously complex science fiction 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 groundbreaking and courageously innovative for its time in a way that eludes this one and its predecessor Tron Legacy from 2010. Tron: Ares nearly awakens just one time – when Evan Peters gets a slap in the face from Gillian Anderson's character playing his mum, in an traditional bit of analogue reality. This is a bit of firm parenting you might feel like administering to all the producers involved in this movie, and it's sad to see the respected Greta Lee's role and Jodie Turner-Smith's character being made to look so lifeless.

Plot Overview of The New Tron Film

The situation now is that an evil AI corporation with the obviously criminal name of Dillinger has become a rival to the virtual reality firm Encom Inc, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn, played by Jeff Bridges. This corporation (initially founded by Encom's executive Ed Dillinger, played by David Warner) is led by the founder's annoyingly geeky grandson's character Julian Dillinger (Evan Peters), who has a ambitious scheme to design and create profitable things such as invincible troops and armored vehicles in the VR world and then transfer them into actual reality using a sort of 3D printer.

The issue is that no matter how intimidating, these things crumble into dust after 29 minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has uncovered the plot-driving “permanence algorithm” which can maintain these entities for ever, and even keeps it on her person on a very low-tech USB drive. So the dreadful Julian sets his attack dog on her: Ares, the superhuman fighter 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 is commanded. 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.

Character and Performance Analysis

Moreover, Ares – the hero of the title – is acted by Jared Leto with hipsterish long hair, beard and subtly omniscient grin, touches that were perhaps designed by inputting the words “extremely annoying” into an AI human creation programme. Nobody who recalls 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 broad (and widely misinterpreted) comic turn in Ridley Scott's film House of Gucci. But Jared Leto is unremittingly, persistently awful in this film, although his performance isn't aided by a weak storyline which is intended to allow him to display glimpses of “empathy” for Greta Lee's character and delegate all the badass wickedness to Athena, thus making her slightly more engaging. It is supposed to be adorable when Ares says how he loves 1980s electronic music and that Depeche Mode are superior to Mozart.

Franchise Elements and Overall Impact

Consistent with the franchise identity of the franchise, there are motorcycles from the virtual underworld which whizz about the environment in long straight lines, adhering to the rectilinear design of antique arcade games (or indeed nightclubs); a single bike even shoots out a death ray which slices a police vehicle in two. But there is zero tension or jeopardy or human interest throughout. This series now looks as relevant as an in-car CD player.