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The matrix of pointlessness is reloaded in this tediously complex science fiction movie, closer to a screensaver than an real cinematic experience. This is a threequel to the classic Tron film from 1982, a film that was mould-breaking and boldly pioneering for its day in a way that eludes this one and its forerunner Tron Legacy from 2010. The new Tron film nearly comes to life just once – 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 bit of firm parenting you might feel like administering to every producer engaged in this movie, and it's sad to see the estimable Greta Lee's role and Jodie Turner-Smith being made to look so lifeless.

Story Summary of Tron: Ares

The scenario now is that an evil AI corporation with the obviously criminal name of Dillinger has become a rival to the virtual reality firm Encom, originally set up 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's role, played by David Warner) is headed by the founder’s odiously nerdish grandson's character Julian Dillinger (Evan Peters), who has a grand plan to develop and produce profitable things such as indestructible soldiers 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 however fearsome, these things disintegrate after twenty-nine minutes. But Encom's current CEO Eve Kim (Greta Lee) has discovered the MacGuffin-y “permanence algorithm” which can keep these things alive permanently, and even stores it on her person on a extremely basic USB drive. So the dreadful Julian Dillinger sets his attack dog on her: Ares, the humanoid uber-warrior which can exit the virtual realm for twenty-nine minutes at a time but which, in the traditional way of robots, is beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith's performance plays Ares's deadpan second-in-command Athena and unfortunate Jeff Bridges has a wooden legacy appearance in wise white robes, like a budget Jor-El on Krypton's setting.

Acting and Roles Breakdown

And Ares himself – the protagonist of the film's name – is played by Jared Leto with hipsterish long hair, beard and faintly all-knowing smile, details that were possibly designed by inputting the words “extremely annoying” into an AI human creation programme. No one who recalls the 90s TV classic My So-Called Life will always find it in their hearts to be completely harsh about Mr Leto, and I was incidentally very entertained by his expansive (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is unremittingly, unrelentingly terrible here, although his performance isn't aided by a limp plot point which is supposed to allow him to show flashes of “empathy” for Greta Lee's character and subcontract all the badass wickedness to Athena's character, thus rendering her marginally more interesting. It is supposed to be charming when Ares the character says how he loves 1980s electronic music and that Depeche Mode are superior to Mozart's compositions.

Franchise Elements and Final Impression

Consistent with the franchise identity of the franchise, there are motorbikes from the virtual underworld which whizz about the place in linear paths, conforming to the angular layout of antique arcade games (or even dance clubs); a single bike even emits a lethal beam which slices a police vehicle in two. But there is no drama or jeopardy or emotional engagement anywhere. This series currently appears about as urgently contemporary as an in-car CD player.