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The framework of futility is reloaded in this mind-bendingly dull science fiction movie, more a screensaver than an real cinematic experience. It's a threequel to the classic Tron film from the early 80s, a movie that was mould-breaking and boldly pioneering for its time in a way that eludes this film and its predecessor Tron: Legacy from 2010. Tron: Ares almost awakens just one time – when Evan Peters' character gets a smack in the face from Gillian Anderson playing his mother, in an traditional bit of analogue reality. This is 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 lifeless.

Story Summary of The New Tron Film

The scenario 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 Inc, originally set up in the 1980s gaming period by genius trailblazer Kevin Flynn's character, portrayed by Jeff Bridges. This corporation (initially founded by Encom's executive Ed Dillinger's role, 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 lucrative items such as indestructible soldiers and tanks in the VR world and then export them into actual reality using a kind of three-dimensional printer.

The issue is that no matter how intimidating, these things disintegrate after twenty-nine minutes. But Encom's current CEO Eve Kim (Greta Lee) has uncovered the plot-driving “permanence algorithm” which can maintain these entities for ever, and even keeps it on her person on a extremely basic USB drive. So the dreadful Julian Dillinger deploys his enforcer on her: Ares, the superhuman fighter which can leave the VR world for 29 minutes at a time but which, in the time-honoured way of androids, is starting to exhibit symptoms of disobeying what he's told. Jodie Turner-Smith's performance plays Ares's stoic deputy Athena's role and unfortunate Jeff Bridges has a leaden legacy cameo in sage-like white garments, like a budget Jor-El on Krypton's setting.

Character and Performance Analysis

Moreover, Ares – the protagonist of the title – is acted by Jared Leto with hipsterish long hair, 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 always find it in their hearts to be completely harsh about Mr Leto, and I was also quite amused by his broad (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is consistently, persistently awful in this film, although his performance isn't aided by a weak storyline which is intended to allow him to show flashes of “compassion” for Eve Kim's role and subcontract all the villainous actions to Athena, thus making her slightly more engaging. It is supposed to be adorable when Ares the character says how he adores 1980s electronic music and that Depeche Mode are superior to Mozart's compositions.

Franchise Elements and Final Impression

Consistent with the franchise identity of the franchise, there are motorbikes from the VR netherworld which whizz about the environment in linear paths, adhering to the rectilinear design of antique arcade games (or even nightclubs); one even shoots out a lethal beam which slices a police vehicle in two. But there is no drama or danger or human interest throughout. This franchise currently appears about as urgently contemporary as an in-car CD player.