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The framework of pointlessness is revisited in this tediously complex sci-fi movie, 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 eludes this one and its predecessor Tron Legacy from the previous decade. The new Tron film almost comes to life just one time – when Evan Peters' character gets a slap in the face from Gillian Anderson portraying his mum, in an traditional bit of real-world action. That's a bit of firm parenting you might feel like 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.

Plot Overview of Tron: Ares

The situation currently is that an evil AI corporation with the obviously criminal name of Dillinger has become a competitor to the virtual reality firm Encom, first established in the 1980s gaming period by genius trailblazer Kevin Flynn's character, portrayed by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger, played by David Warner) is led by the founder's annoyingly geeky grandson's character Julian (Evan Peters), who has a grand plan to design and create lucrative items such as invincible troops and armored vehicles in the virtual reality grid and then transfer them into the real world using a kind of 3D printer.

The issue is that however fearsome, these things disintegrate after 29 minutes. But Encom's present chief executive Eve Kim (Greta Lee) has uncovered the plot-driving “permanence code” which can maintain these entities for ever, and even stores it on her person on a extremely basic USB drive. So the ghastly Julian Dillinger sets his attack dog on her: Ares the warrior, the humanoid uber-warrior which can leave the VR world for 29 minutes at a time but which, in the time-honoured way of robots, is starting to exhibit symptoms of disobeying what he is commanded. Jodie Turner-Smith portrays Ares's deadpan second-in-command Athena and poor Bridges has a leaden legacy cameo in sage-like white garments, like a Poundshop Jor-El on Krypton's setting.

Character and Performance Breakdown

And Ares himself – the protagonist of the film's name – is played by Jared Leto with trendy lengthy locks, beard and faintly all-knowing smile, touches that were perhaps created by inputting the words “extremely annoying” into an artificial intelligence character generator. No one who remembers the 90s TV classic My So-Called Life will ever find it in their hearts to be completely harsh about Jared Leto, and I was incidentally very entertained by his expansive (and critically misunderstood) comic turn in Ridley Scott's movie House of Gucci. But Jared Leto is consistently, persistently awful here, although he isn't helped by a limp plot point which is supposed to allow him to display glimpses of “empathy” for Greta Lee's character and delegate all the badass wickedness to Athena's character, thus making her slightly more engaging. It is supposed to be charming when Ares says how he loves 1980s electronic music and that Depeche Mode band are better than Mozart.

Franchise Elements and Overall Impact

And in keeping with the brand-identity of the franchise, there are motorbikes from the virtual underworld which speed around the place in linear paths, adhering to the rectilinear design of antique arcade games (or indeed dance clubs); a single bike even shoots out a lethal beam which slices a cop car in half. But there is zero tension or danger or human interest throughout. This series currently appears as relevant as an in-car CD player.