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The framework of futility is reloaded in this mind-bendingly dull science fiction movie, more a screensaver than an actual film. It's a threequel to the classic Tron film from 1982, a film that was mould-breaking and courageously innovative for its day in a way that eludes this film and its predecessor Tron Legacy from the previous decade. Tron: Ares almost comes to life just one time – when Evan Peters' character gets a slap in the face from Gillian Anderson's character portraying 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 every producer engaged in this film, and it's unfortunate to see the respected Greta Lee and Jodie Turner-Smith's character being made to look so uninspired.

Story Summary of The New Tron Film

The situation currently is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger Corp has become a competitor to the VR company Encom, originally set up in the 1980s gaming period by genius trailblazer Kevin Flynn, played by Jeff Bridges. This corporation (initially founded by Encom executive Ed Dillinger, played by David Warner) is headed by the founder's annoyingly geeky grandson's character Julian Dillinger (Evan Peters), who has a grand plan to design and create profitable things such as invincible troops and armored vehicles in the VR world and then transfer them into the real world using a kind of 3D printer.

The problem is that however fearsome, these creations disintegrate after twenty-nine minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has uncovered the MacGuffin-y “permanence code” which can keep these things alive 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 humanoid uber-warrior 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 disobeying what he is commanded. Jodie Turner-Smith portrays Ares's deadpan second-in-command Athena's role and poor Bridges has a leaden legacy cameo in sage-like white garments, like a budget Jor-El on Krypton.

Acting and Roles Analysis

Moreover, Ares – the hero of the title – is played by Jared Leto with hipsterish long hair, facial hair and faintly all-knowing smile, touches that were possibly designed by typing the words “incredibly irritating” into an AI human creation programme. No one who remembers the 90s TV classic My So-Called Life series will always find it in their hearts to be totally rude about Jared Leto, and I was also very entertained by his expansive (and critically misunderstood) comic turn in Ridley Scott's movie House of Gucci. But Leto is consistently, persistently awful in this film, although his performance isn't aided by a limp plot point which is intended to allow him to display glimpses of “compassion” for Eve Kim's role and delegate all the villainous actions to Athena's character, thus rendering her slightly more engaging. It is supposed to be charming when Ares says how he adores 80s synth pop and that Depeche Mode are superior to Mozart's compositions.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the franchise, there are motorbikes from the virtual underworld which speed around the environment in linear paths, adhering to the rectilinear design of classic video games (or indeed nightclubs); a single bike even emits a death ray which cuts a cop car in two. But there is zero tension or jeopardy or human interest anywhere. This series now looks about as urgently contemporary as an automobile CD system.