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The framework of futility is reloaded in this mind-bendingly dull sci-fi movie, closer to a screensaver than an actual film. This is a third installment to the classic Tron film from the early 80s, a film that was mould-breaking and boldly pioneering for its day in a way that eludes this one and its predecessor Tron Legacy from the previous decade. Tron: Ares almost comes to life 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 handing out to every producer involved in this film, and it's sad to see the estimable Greta Lee's role and Jodie Turner-Smith's character being made to look so lifeless.

Story Summary of The New Tron Film

The scenario currently is that an malicious artificial intelligence company with the obviously criminal name of Dillinger has become a competitor to the VR company Encom Inc, first established in the 1980s gaming period by brilliant innovator Kevin Flynn, played by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger's role, acted by David Warner) is headed by the founder’s odiously nerdish grandson Julian Dillinger (Evan Peters), who has a grand plan to design and create lucrative items such as indestructible soldiers and armored vehicles in the virtual reality grid and then transfer 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's character (Greta Lee) has uncovered the plot-driving “permanence code” which can maintain these entities for ever, and even keeps it on her person on a very low-tech flashdrive. So the dreadful Julian sets his attack dog on her: Ares the warrior, the superhuman fighter which can leave the VR world for twenty-nine minutes at a time but which, in the traditional way of androids, is beginning to show signs of disobeying what he's told. Jodie Turner-Smith's performance plays Ares's stoic deputy Athena and unfortunate Bridges has a leaden legacy cameo in sage-like white garments, like a budget Jor-El on Krypton.

Acting and Roles Breakdown

Moreover, Ares – the hero of the film's name – is played by Jared Leto with hipsterish long hair, beard and faintly all-knowing smile, details that were perhaps created by inputting the words “extremely annoying” into an AI human creation programme. No one who recalls the 1990s television classic My So-Called Life 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 here, 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 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 80s synth pop and that Depeche Mode are superior to Mozart's compositions.

Franchise Elements and Final Impression

And in keeping with the franchise identity of the franchise, there are motorcycles from the VR netherworld which speed around the place in linear paths, conforming to the angular layout of antique arcade games (or even dance clubs); one even shoots out a death ray which cuts a police vehicle in two. But there is zero tension or danger or emotional engagement anywhere. This franchise now looks as relevant as an in-car CD player.