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The matrix of pointlessness is reloaded in this tediously complex science fiction movie, closer to a screensaver than an actual film. This is a third installment to the original movie Tron from 1982, a film that was mould-breaking and boldly pioneering for its time in a way that eludes this one and its forerunner Tron: Legacy from the previous decade. Tron: Ares almost comes to life just once – when Evan Peters' character gets a smack in the face from Gillian Anderson's character portraying his mum, in an traditional bit of analogue reality. 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 estimable Greta Lee and Jodie Turner-Smith being made to look so uninspired.

Story Summary of Tron: Ares

The scenario now is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger Corp has become a competitor to the VR company Encom Inc, originally set up in the 80s arcade-game era by brilliant innovator Kevin Flynn, played by Jeff Bridges. This corporation (initially founded by Encom executive Ed Dillinger's role, played by David Warner) is headed by the founder's odiously nerdish grandson's character Julian (Evan Peters), who has a grand plan to develop and produce profitable things such as indestructible soldiers and tanks in the VR world and then export them into actual reality using a kind of 3D printer.

The problem is that no matter how intimidating, these creations disintegrate after twenty-nine minutes. But Encom's present chief executive Eve Kim (Greta Lee) has uncovered the MacGuffin-y “permanence code” which can keep these things alive for ever, and even stores it on her person on a extremely basic USB drive. So the dreadful Julian Dillinger sets his attack dog on her: Ares, the humanoid uber-warrior which can leave the VR world for 29 minutes at a time but which, in the traditional way of robots, is starting to exhibit symptoms of disobeying what he's told. Jodie Turner-Smith's performance plays Ares's stoic deputy Athena and poor Jeff Bridges has a wooden legacy appearance 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 hipsterish long hair, facial hair and subtly omniscient grin, touches that were perhaps created by typing the words “incredibly irritating” into an AI human creation programme. No one who remembers the 1990s television classic My So-Called Life series will always find it in their hearts to be totally rude about Jared Leto, and I was also very entertained by his expansive (and critically misunderstood) comic turn 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 limp plot point which is intended to allow him to show flashes of “empathy” for Greta Lee's character and delegate all the badass wickedness to Athena, thus rendering her marginally more interesting. It is meant to be adorable when Ares the character says how he loves 80s synth pop and that Depeche Mode band are better than Mozart's compositions.

Franchise Elements and Overall Impact

Consistent with the franchise identity of the franchise, there are motorcycles from the VR netherworld which whizz about the environment in long straight lines, conforming to the rectilinear design of classic video games (or even dance clubs); one even emits a death ray which cuts a cop car in half. But there is zero tension or danger or emotional engagement throughout. This franchise currently appears as relevant as an automobile CD system.