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The framework of futility is reloaded in this mind-bendingly dull sci-fi movie, more a screensaver than an real cinematic experience. It's a third installment to the original movie Tron from the early 80s, a film that was mould-breaking and boldly pioneering for its day in a way that escapes this one and its forerunner Tron: Legacy from 2010. Tron: Ares almost comes to life just one time – when Evan Peters gets a smack in the face from Gillian Anderson portraying his mother, in an old-fashioned bit of real-world action. That's a piece of tough love you might feel like handing out to all the producers involved in this movie, and it's sad to see the respected Greta Lee's role and Jodie Turner-Smith being made to look so uninspired.

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, originally set up in the 1980s gaming period by genius trailblazer Kevin Flynn's character, played by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger's role, acted by David Warner) is led by the founder's odiously nerdish grandson's character Julian Dillinger (Evan Peters), who has a grand plan to develop and produce lucrative items such as invincible troops and tanks in the VR world and then transfer them into the real world using a sort of 3D printer.

The problem is that no matter how intimidating, these creations crumble into dust after twenty-nine minutes. But Encom's present chief executive Eve Kim's character (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 flashdrive. So the dreadful Julian sets his attack dog 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 time-honoured way of androids, is beginning to show signs of disobeying what he's told. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena's role and poor Bridges has a leaden legacy cameo in wise white robes, like a budget Jor-El on Krypton.

Acting and Roles Analysis

And Ares himself – the hero of the film's name – is played by Jared Leto with hipsterish long hair, beard and faintly all-knowing smile, details that were possibly designed by typing the words “extremely annoying” into an artificial intelligence character generator. No one who recalls the 90s TV classic My So-Called Life will ever 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 Leto is unremittingly, unrelentingly terrible in this film, although he isn't helped by a weak storyline which is supposed to allow him to display glimpses of “compassion” 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 the character says how he adores 80s synth pop and that Depeche Mode are better than Mozart's compositions.

Franchise Elements and Final Impression

And in keeping with the franchise identity of the series, there are motorcycles from the virtual underworld which speed around the place in long straight lines, adhering to the angular layout of antique arcade games (or even dance clubs); a single bike even shoots out a death ray which cuts a cop car in half. But there is no drama or jeopardy or emotional engagement anywhere. This series currently appears as relevant as an automobile CD system.