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The framework of futility is revisited in this tediously complex sci-fi movie, closer to a screensaver than an real cinematic experience. It's a threequel to the classic Tron film from the early 80s, a movie that was groundbreaking and boldly pioneering for its day in a way that eludes this one and its predecessor Tron Legacy from 2010. The new Tron film nearly comes to life just once – when Evan Peters gets a slap in the face from Gillian Anderson portraying his mother, in an old-fashioned bit of real-world action. This is a bit of firm parenting you might feel like handing out to every producer involved in this movie, and it's sad to see the estimable Greta Lee's role and Jodie Turner-Smith's character being made to look so uninspired.

Story Summary of Tron: Ares

The scenario now is that an malicious artificial intelligence company with the obviously criminal name of Dillinger has become a competitor to the virtual reality firm Encom Inc, first established in the 1980s gaming period by genius trailblazer Kevin Flynn's character, played by Jeff Bridges. This Dillinger (originally set up by Encom's executive Ed Dillinger's role, acted by David Warner) is led by the founder's annoyingly geeky grandson's character Julian Dillinger (Evan Peters), who has a ambitious scheme to design and create lucrative items such as invincible troops and armored vehicles in the virtual reality grid and then transfer them into actual reality using a kind of three-dimensional printer.

The problem is that however fearsome, these things crumble into dust after twenty-nine minutes. But Encom's current CEO Eve Kim (Greta Lee) has uncovered the plot-driving “permanence algorithm” which can keep these things alive for ever, and even keeps it on her person on a very low-tech USB drive. So the ghastly Julian sets his attack dog on her: Ares, the humanoid uber-warrior which can exit the virtual realm for 29 minutes at a time but which, in the time-honoured 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 and poor Bridges has a wooden legacy appearance in sage-like white garments, like a budget Jor-El on Krypton's setting.

Character and Performance Analysis

And Ares himself – the protagonist of the title – is acted by Jared Leto with trendy lengthy locks, beard and faintly all-knowing smile, touches that were perhaps designed by inputting the words “incredibly irritating” into an artificial intelligence character generator. No one who remembers 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 very entertained by his broad (and widely misinterpreted) comic turn in Ridley Scott's film 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 supposed to allow him to show flashes of “empathy” for Greta Lee's character and subcontract all the villainous actions to Athena, thus making her slightly more engaging. It is supposed to be charming when Ares the character says how he loves 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, adhering to the angular layout of antique arcade games (or even nightclubs); one even shoots out a death ray which cuts a cop car in two. But there is no drama or jeopardy or emotional engagement anywhere. This franchise currently appears as relevant as an in-car CD player.