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The matrix of futility is reloaded in this mind-bendingly dull sci-fi film, more a screensaver than an real cinematic experience. It's a threequel to the classic Tron film from the early 80s, a film that was mould-breaking and boldly pioneering for its time in a way that eludes this film and its forerunner Tron Legacy from 2010. The new Tron film almost comes to life just one time – when Evan Peters gets a smack in the face from Gillian Anderson's character portraying his mother, in an old-fashioned bit of analogue reality. That's a piece of tough love you might want to handing out to all the producers engaged in this film, and it's sad to see the respected Greta Lee's role and Jodie Turner-Smith's character being made to look so uninspired.

Story Summary of Tron: Ares

The scenario currently is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger Corp has become a rival to the virtual reality firm Encom, originally set up in the 1980s gaming period by genius trailblazer Kevin Flynn, played by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger, played by David Warner) is headed by the founder’s annoyingly geeky grandson's character Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce profitable things such as indestructible soldiers and armored vehicles in the virtual reality grid and then export them into the real world using a kind of 3D printer.

The problem is that however fearsome, these creations crumble into dust after 29 minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has uncovered the MacGuffin-y “permanence code” which can keep these things alive for ever, and even keeps it on her person on a extremely basic flashdrive. So the dreadful Julian Dillinger sets his attack dog 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 time-honoured way of robots, is beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith portrays Ares's stoic deputy Athena's role and unfortunate Bridges has a wooden legacy appearance in wise white robes, like a Poundshop Jor-El on Krypton.

Character and Performance Breakdown

And Ares himself – the protagonist of the film's name – is played by Jared Leto with hipsterish long hair, facial hair and faintly all-knowing smile, details that were possibly designed by typing the words “extremely annoying” into an AI human creation programme. Nobody who recalls the 1990s television classic My So-Called Life will always find it in their hearts to be completely harsh about Jared Leto, and I was also quite amused by his broad (and critically misunderstood) comic turn in Ridley Scott's movie House of Gucci. But Leto is consistently, persistently terrible in this film, although his performance isn't aided by a limp plot point which is intended to allow him to show flashes of “empathy” for Greta Lee's character and subcontract all the villainous actions to Athena, thus rendering her marginally more interesting. It is meant to be adorable when Ares the character says how he adores 80s synth pop and that Depeche Mode band are better than Mozart.

Series Features and Overall Impact

And in keeping with the franchise identity of the series, there are motorcycles from the VR netherworld which whizz about the environment in linear paths, conforming to the rectilinear design of classic video games (or even dance clubs); a single bike even emits a death ray which cuts a cop car in half. But there is zero tension or danger or human interest anywhere. This franchise now looks as relevant as an in-car CD player.