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The matrix of futility is reloaded in this tediously complex sci-fi film, closer to a screensaver than an real cinematic experience. This is a threequel to the original movie Tron from the early 80s, a movie that was mould-breaking and boldly pioneering for its day in a way that escapes this one and its predecessor Tron: Legacy from 2010. Tron: Ares almost comes to life just once – when Evan Peters gets a smack in the face from Gillian Anderson's character portraying his mother, in an old-fashioned bit of real-world action. This is a piece of tough love you might want to administering to all the producers engaged in this film, and it's unfortunate to see the respected Greta Lee and Jodie Turner-Smith being made to look so uninspired.

Story Summary of The New Tron Film

The scenario now is that an evil AI corporation with the obviously criminal name of Dillinger has become a rival to the VR company Encom Inc, originally set up in the 80s arcade-game era by brilliant innovator Kevin Flynn's character, portrayed by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger, acted by David Warner) is led by the founder's odiously nerdish grandson Julian Dillinger (Evan Peters), who has a grand plan to design and create profitable things such as indestructible soldiers and armored vehicles in the VR world and then export them into the real world using a sort of 3D printer.

The issue is that no matter how intimidating, these things crumble into dust after 29 minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has discovered the plot-driving “permanence algorithm” which can maintain these entities permanently, and even stores it on her person on a very low-tech flashdrive. So the ghastly Julian sets his attack dog on her: Ares the warrior, the humanoid uber-warrior which can exit the virtual realm for twenty-nine minutes at a time but which, in the time-honoured way of androids, is starting to exhibit symptoms of not doing what he is commanded. Jodie Turner-Smith plays Ares's stoic deputy Athena and unfortunate Jeff Bridges has a wooden legacy appearance in wise white robes, like a budget Jor-El on Krypton.

Character and Performance Analysis

Moreover, Ares – the hero 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 “incredibly irritating” into an artificial intelligence character generator. Nobody who recalls the 90s TV classic My So-Called Life will ever find it in their hearts to be totally rude about Mr Leto, and I was incidentally quite amused by his broad (and critically misunderstood) humorous performance in Ridley Scott's movie House of Gucci. But Jared Leto is unremittingly, unrelentingly terrible in this film, although he isn't helped by a weak storyline which is intended to allow him to show flashes of “compassion” for Eve Kim's role and delegate all the villainous actions to Athena, thus making her slightly more engaging. It is meant to be adorable when Ares the character says how he adores 1980s electronic music and that Depeche Mode are better than Mozart's compositions.

Franchise Elements and Overall Impact

And in keeping with the franchise identity of the franchise, there are motorbikes from the virtual underworld which whizz about the environment in long straight lines, conforming to the angular layout of antique arcade games (or indeed dance clubs); one even emits a lethal beam which cuts a cop car in half. But there is zero tension or danger or human interest throughout. This franchise currently appears about as urgently contemporary as an automobile CD system.