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The framework of futility is revisited in this mind-bendingly dull science fiction film, more a screensaver than an real cinematic experience. This is a threequel to the classic Tron film from 1982, a movie that was mould-breaking and boldly pioneering for its day in a way that escapes this film and its predecessor Tron Legacy from the previous decade. The new Tron film nearly awakens just once – when Evan Peters gets a smack in the face from Gillian Anderson's character portraying his mother, in an traditional bit of analogue reality. This is 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 situation currently is that an evil AI corporation with the obviously criminal name of Dillinger Corp has become a rival to the VR company Encom Inc, first established in the 80s arcade-game era by brilliant innovator Kevin Flynn, portrayed by Jeff Bridges. This corporation (initially founded by Encom executive Ed Dillinger's role, played by David Warner) is led by the founder's odiously nerdish 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 actual reality using a sort of three-dimensional printer.

The problem is that however fearsome, these creations disintegrate after 29 minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has discovered the plot-driving “permanence code” which can maintain these entities permanently, and even stores it on her person on a extremely basic USB drive. So the ghastly Julian Dillinger deploys his enforcer on her: Ares the warrior, the humanoid uber-warrior which can leave the VR world for twenty-nine minutes at a time but which, in the traditional way of androids, is starting to exhibit symptoms of disobeying what he is commanded. Jodie Turner-Smith's performance plays Ares's deadpan second-in-command Athena's role and unfortunate Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton.

Acting and Roles Breakdown

Moreover, Ares – the protagonist of the film's name – is played by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, touches that were possibly designed by typing the words “extremely annoying” into an AI human creation programme. Nobody who remembers the 1990s television classic My So-Called Life will always find it in their hearts to be completely harsh about Jared Leto, and I was also quite amused by his broad (and critically misunderstood) comic turn in Ridley Scott's movie House of Gucci. But Leto is consistently, unrelentingly awful in this film, although he isn't helped by a limp plot point which is intended 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 slightly more engaging. It is meant to be adorable when Ares says how he adores 1980s electronic music and that Depeche Mode band are better than Mozart.

Series Features and Overall Impact

Consistent with the brand-identity of the franchise, there are motorcycles from the VR netherworld which speed around the environment in long straight lines, adhering to the rectilinear design of antique arcade games (or even nightclubs); one even emits a death ray which cuts a cop car in two. But there is no drama or danger or emotional engagement anywhere. This franchise currently appears as relevant as an in-car CD player.