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The matrix of pointlessness is reloaded in this mind-bendingly dull sci-fi movie, closer to a screensaver than an actual film. This is a third installment to the original movie Tron from 1982, a movie that was mould-breaking and courageously innovative for its day in a way that escapes this one and its forerunner Tron Legacy from the previous decade. The new Tron film 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 old-fashioned bit of analogue reality. That's a bit of firm parenting you might want to handing out to every producer involved in this film, and it's unfortunate to see the estimable Greta Lee's role and Jodie Turner-Smith's character being made to look so lifeless.

Plot Overview of Tron: Ares

The situation now is that an evil AI corporation with the obviously criminal name of Dillinger Corp has become a rival to the virtual reality firm Encom Inc, first established in the 80s arcade-game era by brilliant innovator Kevin Flynn's character, played by Jeff Bridges. This corporation (initially founded by Encom executive Ed Dillinger's role, acted by David Warner) is headed by the founder's odiously nerdish grandson's character Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce lucrative items such as indestructible soldiers and armored vehicles in the VR world and then transfer them into the real world using a kind of 3D printer.

The issue is that no matter how intimidating, these things disintegrate after 29 minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has discovered the plot-driving “permanence code” which can keep these things alive 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 superhuman fighter 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 disobeying what he is commanded. Jodie Turner-Smith's performance plays Ares's stoic deputy Athena's role and poor 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 film's name – is acted by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, details that were possibly created by typing the words “incredibly irritating” into an artificial intelligence character generator. Nobody who recalls the 1990s television classic My So-Called Life will ever 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 movie House of Gucci. But Jared Leto is unremittingly, persistently terrible here, although he isn't helped by a weak storyline which is supposed to allow him to show flashes of “empathy” for Greta Lee's character and subcontract all the villainous actions to Athena, thus making her marginally more interesting. It is supposed to be charming when Ares the character says how he adores 80s synth pop and that Depeche Mode are superior to Mozart's compositions.

Franchise Elements and Final Impression

Consistent with the brand-identity of the franchise, there are motorcycles from the VR netherworld which whizz about the environment in linear paths, conforming to the rectilinear design of antique arcade games (or indeed nightclubs); a single bike even shoots out a death ray which cuts a cop car in two. But there is zero tension or jeopardy or emotional engagement throughout. This franchise currently appears as relevant as an automobile CD system.