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The framework of pointlessness is reloaded in this tediously complex sci-fi film, 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 escapes this film and its forerunner Tron: Legacy from 2010. The new Tron film almost comes to life just one time – when Evan Peters gets a smack in the face from Gillian Anderson's character playing his mother, in an old-fashioned bit of real-world action. That's a piece of tough love you might feel like administering to all the producers engaged in this movie, and it's sad to see the estimable Greta Lee and Jodie Turner-Smith's character being made to look so lifeless.

Story Summary of Tron: Ares

The situation currently is that an malicious artificial intelligence company with the obviously criminal name of Dillinger has become a competitor to the virtual reality firm Encom, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This corporation (originally set up by Encom's executive Ed Dillinger, played by David Warner) is led by the founder's annoyingly geeky grandson's character Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce profitable things such as invincible troops and tanks in the VR world and then export them into the real world using a sort of 3D printer.

The problem is that however fearsome, these creations disintegrate after 29 minutes. But Encom's present chief executive Eve Kim (Greta Lee) has discovered the MacGuffin-y “permanence algorithm” which can keep these things alive for ever, and even keeps it on her person on a extremely basic USB drive. So the ghastly Julian deploys his enforcer on her: Ares the warrior, the humanoid uber-warrior which can exit the virtual realm for 29 minutes at a time but which, in the traditional way of robots, is starting to exhibit symptoms of not doing what he is commanded. Jodie Turner-Smith portrays Ares's stoic deputy Athena's role and poor Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Acting and Roles Analysis

Moreover, Ares – the protagonist of the title – is acted by Jared Leto with trendy lengthy locks, beard and subtly omniscient grin, touches that were possibly created by inputting the words “incredibly irritating” into an AI human creation programme. Nobody who recalls the 1990s television classic My So-Called Life series will ever find it in their hearts to be completely harsh about Jared Leto, and I was incidentally quite amused by his expansive (and widely misinterpreted) comic turn in Ridley Scott's film House of Gucci. But Leto is unremittingly, unrelentingly awful here, 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, thus making her marginally more interesting. It is meant to be charming when Ares the character says how he adores 1980s electronic music and that Depeche Mode band are better than Mozart's compositions.

Series Features and Final Impression

Consistent with the franchise identity of the series, there are motorbikes from the VR netherworld which whizz about the environment in long straight lines, adhering to the rectilinear design of antique arcade games (or indeed nightclubs); a single bike even emits a lethal beam which slices a cop car in two. But there is no drama or jeopardy or emotional engagement throughout. This franchise currently appears as relevant as an automobile CD system.