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The matrix of futility is revisited in this tediously complex science fiction film, closer to a screensaver than an real cinematic experience. It's a threequel to the original movie Tron from 1982, a film that was mould-breaking and courageously innovative for its time in a way that escapes this film and its forerunner Tron: Legacy from 2010. Tron: Ares nearly comes to life just one time – when Evan Peters gets a smack in the face from Gillian Anderson's character portraying his mum, in an traditional bit of real-world action. This is 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 estimable Greta Lee's role and Jodie Turner-Smith being made to look so lifeless.

Plot Overview of The New Tron Film

The situation currently is that an evil AI corporation with the obviously criminal name of Dillinger Corp has become a competitor to the virtual reality firm Encom, first established in the 1980s gaming period by brilliant innovator Kevin Flynn's character, portrayed by Jeff Bridges. This Dillinger (initially founded by Encom's executive Ed Dillinger, acted by David Warner) is led by the founder's odiously nerdish grandson's character Julian (Evan Peters), who has a grand plan to develop and produce lucrative items such as invincible troops and armored vehicles in the virtual reality grid and then export them into the real world using a sort 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 MacGuffin-y “permanence code” which can maintain these entities for ever, and even keeps 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 superhuman fighter which can leave the VR world for 29 minutes at a time but which, in the traditional way of androids, is beginning to show signs of not doing what he is commanded. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena's role and poor Jeff Bridges has a wooden legacy appearance in sage-like white garments, 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 trendy lengthy locks, beard and subtly omniscient grin, details that were perhaps created by typing the words “incredibly irritating” into an AI human creation programme. Nobody who remembers 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 broad (and critically misunderstood) comic turn in Ridley Scott's film House of Gucci. But Leto is unremittingly, unrelentingly 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 Eve Kim's role and subcontract all the villainous actions to Athena's character, thus rendering her marginally more interesting. It is supposed to be adorable when Ares the character says how he adores 80s synth pop and that Depeche Mode are superior to Mozart.

Franchise Elements and Final Impression

And in keeping with the brand-identity of the series, there are motorbikes from the VR netherworld which whizz about the place in linear paths, conforming to the angular layout of classic video games (or indeed nightclubs); a single bike even emits a death ray which slices a police vehicle in half. But there is no drama or danger or emotional engagement throughout. This franchise currently appears as relevant as an in-car CD player.