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The framework of futility is revisited in this tediously complex science fiction film, closer to a screensaver than an real cinematic experience. It's a third installment to the classic Tron film from 1982, a film that was groundbreaking and courageously innovative for its day in a way that eludes this film and its predecessor Tron Legacy from the previous decade. The new Tron film nearly awakens just once – when Evan Peters gets a slap in the face from Gillian Anderson portraying his mother, in an old-fashioned bit of real-world action. This is a bit of firm parenting you might want to handing out to all the producers involved in this film, and it's sad to see the respected Greta Lee and Jodie Turner-Smith's character being made to look so lifeless.

Story Summary of Tron: Ares

The scenario now is that an malicious artificial intelligence company with the obviously criminal name of Dillinger has become a competitor to the virtual reality firm Encom, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn's character, portrayed by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger, played by David Warner) is headed by the founder’s odiously nerdish grandson's character Julian (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 problem is that no matter how intimidating, these things crumble into dust after 29 minutes. But Encom's present chief executive Eve Kim (Greta Lee) has uncovered the plot-driving “permanence algorithm” which can keep these things alive permanently, and even stores it on her person on a extremely basic flashdrive. So the ghastly Julian Dillinger deploys his enforcer 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 robots, is beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith plays Ares's stoic deputy Athena and poor Bridges has a leaden legacy cameo in sage-like white garments, like a budget Jor-El on Krypton's setting.

Character and Performance Breakdown

And Ares himself – the hero of the title – is played by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, touches that were possibly designed by inputting the words “extremely annoying” into an AI human creation programme. Nobody who recalls the 90s TV classic My So-Called Life series will always find it in their hearts to be completely harsh about Jared Leto, and I was also very entertained by his broad (and critically misunderstood) humorous performance in Ridley Scott's movie House of Gucci. But Jared Leto is consistently, persistently awful here, although he isn't helped by a weak storyline which is intended to allow him to show flashes of “compassion” for Greta Lee's character and delegate all the villainous actions to Athena, thus rendering her slightly more engaging. It is supposed to be adorable 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 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 indeed dance clubs); a single bike 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 now looks about as urgently contemporary as an in-car CD player.