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The matrix of pointlessness is reloaded in this mind-bendingly dull sci-fi film, more 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 day in a way that eludes this one and its predecessor Tron Legacy from the previous decade. Tron: Ares almost awakens just one time – when Evan Peters' character gets a slap in the face from Gillian Anderson portraying his mother, in an old-fashioned bit of real-world action. That's a bit of firm parenting you might feel like administering to every producer involved in this film, and it's sad to see the respected Greta Lee's role and Jodie Turner-Smith being made to look so lifeless.

Plot Overview of The New Tron Film

The scenario now is that an evil AI corporation with the obviously criminal name of Dillinger Corp has become a rival to the VR company Encom, originally set up in the 80s arcade-game era by brilliant innovator Kevin Flynn, played by Jeff Bridges. This Dillinger (initially founded by Encom's executive Ed Dillinger's role, played 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 profitable things such as indestructible soldiers and armored vehicles in the virtual reality grid and then export them into actual reality using a kind of 3D printer.

The issue is that however fearsome, these creations disintegrate after twenty-nine minutes. But Encom's current CEO Eve Kim (Greta Lee) has discovered the MacGuffin-y “permanence algorithm” which can maintain these entities permanently, and even keeps it on her person on a very low-tech USB drive. So the dreadful Julian Dillinger deploys his enforcer on her: Ares, the humanoid uber-warrior which can leave the VR world for twenty-nine minutes at a time but which, in the traditional way of androids, is starting to exhibit symptoms of not doing what he is commanded. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena's role and unfortunate Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Character and Performance Analysis

Moreover, Ares – the hero of the title – is acted by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, touches that were perhaps created by inputting the words “extremely annoying” into an artificial intelligence character generator. Nobody who recalls the 90s TV classic My So-Called Life series will always find it in their hearts to be totally rude about Mr Leto, and I was incidentally quite amused by his broad (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 supposed to allow him to display glimpses of “empathy” for Greta Lee's character and subcontract all the villainous actions to Athena's character, thus making her slightly more engaging. It is supposed to be adorable when Ares says how he adores 80s synth pop and that Depeche Mode are better than Mozart.

Series Features and Final Impression

Consistent with the franchise identity of the series, there are motorbikes from the virtual underworld which whizz about the environment in long straight lines, conforming to the angular layout of antique arcade games (or indeed nightclubs); a single bike even emits a death ray which cuts a cop car in two. But there is no drama or danger or human interest anywhere. This franchise currently appears as relevant as an in-car CD player.