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The framework of pointlessness is revisited in this mind-bendingly dull sci-fi film, closer to a screensaver than an real cinematic experience. This is a threequel to the classic Tron film from 1982, a movie that was groundbreaking and boldly pioneering for its day in a way that escapes this film and its forerunner Tron: Legacy from 2010. The new Tron film almost awakens just once – when Evan Peters gets a smack in the face from Gillian Anderson playing his mum, in an old-fashioned bit of real-world action. This is a bit of firm parenting you might want to administering to every producer involved in this film, and it's unfortunate to see the estimable Greta Lee's role and Jodie Turner-Smith being made to look so uninspired.

Plot Overview of Tron: Ares

The scenario now is that an malicious artificial intelligence company with the obviously criminal name of Dillinger Corp has become a competitor to the virtual reality firm Encom Inc, originally set up in the 80s arcade-game era by genius trailblazer Kevin Flynn, portrayed 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 Julian Dillinger (Evan Peters), who has a ambitious scheme to design and create profitable things such as invincible troops and tanks in the virtual reality grid and then transfer them into actual reality using a sort of three-dimensional printer.

The issue is that however fearsome, these things disintegrate after 29 minutes. But Encom's current CEO Eve Kim (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 extremely basic flashdrive. So the ghastly Julian deploys his enforcer on her: Ares the warrior, 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 plays Ares's stoic deputy Athena and unfortunate Bridges has a leaden legacy cameo in sage-like white garments, like a Poundshop Jor-El on Krypton.

Acting and Roles Analysis

Moreover, Ares – the protagonist of the film's name – is acted by Jared Leto with trendy lengthy locks, beard and faintly all-knowing smile, details that were possibly designed by inputting the words “extremely annoying” into an artificial intelligence character generator. Nobody who remembers the 90s TV classic My So-Called Life will ever find it in their hearts to be completely harsh about Mr Leto, and I was incidentally very entertained by his broad (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is consistently, persistently terrible in this film, although his performance isn't aided by a weak storyline which is supposed to allow him to show flashes of “compassion” for Eve Kim's role and subcontract all the villainous actions to Athena's character, thus rendering her marginally more interesting. It is meant 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 brand-identity of the franchise, there are motorbikes from the VR netherworld which whizz about the place in linear paths, conforming to the angular layout of antique arcade games (or even nightclubs); one even emits a lethal beam which slices a police vehicle in half. But there is zero tension or danger or emotional engagement throughout. This franchise currently appears as relevant as an in-car CD player.