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The matrix of futility is revisited in this mind-bendingly dull science fiction film, closer to a screensaver than an real cinematic experience. This is a third installment to the classic Tron film from 1982, a film that was mould-breaking and boldly pioneering for its time in a way that escapes this one and its predecessor Tron: Legacy from the previous decade. The new Tron film almost awakens just once – when Evan Peters' character gets a slap in the face from Gillian Anderson portraying his mum, in an old-fashioned bit of real-world action. That's a bit of firm parenting you might want to handing out to all the producers engaged in this film, and it's unfortunate to see the estimable Greta Lee's role and Jodie Turner-Smith's character being made to look so lifeless.

Story Summary of Tron: Ares

The scenario now is that an malicious artificial intelligence company with the unsubtly gangster-ish 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's character, portrayed by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger, played by David Warner) is led by the founder's odiously nerdish grandson 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 export them into the real world using a kind of 3D printer.

The issue is that however fearsome, these creations disintegrate after 29 minutes. But Encom's present chief executive Eve Kim (Greta Lee) has uncovered the MacGuffin-y “permanence code” which can maintain these entities permanently, and even keeps it on her person on a extremely basic flashdrive. So the dreadful Julian 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 robots, is starting to exhibit symptoms of disobeying what he is commanded. Jodie Turner-Smith's performance plays Ares's stoic deputy Athena and unfortunate Jeff Bridges has a wooden legacy appearance in wise white robes, like a budget 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, touches that were perhaps created by typing the words “incredibly irritating” into an artificial intelligence character generator. No one who remembers the 1990s television classic My So-Called Life series will ever find it in their hearts to be completely harsh about Jared Leto, and I was incidentally very entertained by his broad (and widely misinterpreted) humorous performance in Ridley Scott's movie House of Gucci. But Leto is consistently, persistently terrible here, although he isn't helped by a limp plot point which is intended to allow him to show flashes of “compassion” for Eve Kim's role and subcontract all the villainous actions to Athena, thus making her slightly more engaging. It is meant to be adorable when Ares says how he loves 1980s electronic music and that Depeche Mode are better than Mozart's compositions.

Series Features and Final Impression

And in keeping with the brand-identity of the franchise, there are motorcycles from the virtual underworld which speed around the place in long straight lines, conforming to the rectilinear design of antique arcade games (or even nightclubs); a single bike even emits a death ray which slices a police vehicle in half. But there is zero tension or jeopardy or human interest throughout. This franchise now looks as relevant as an in-car CD player.