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The matrix of futility is reloaded in this tediously complex sci-fi movie, closer to a screensaver than an real cinematic experience. It's a threequel to the classic Tron film from 1982, a film that was mould-breaking and courageously innovative for its time in a way that eludes this film and its predecessor Tron: Legacy from the previous decade. Tron: Ares nearly awakens just one time – when Evan Peters gets a slap in the face from Gillian Anderson portraying his mum, in an traditional bit of analogue reality. That's a bit of firm parenting you might want to handing out to every producer engaged in this film, and it's sad to see the estimable Greta Lee and Jodie Turner-Smith's character being made to look so lifeless.

Plot Overview of The New Tron Film

The scenario now 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 80s arcade-game era by genius trailblazer Kevin Flynn, played by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger, played by David Warner) is headed by the founder’s odiously nerdish grandson Julian (Evan Peters), who has a ambitious scheme to design and create lucrative items such as invincible troops and armored vehicles in the VR world and then export them into the real world using a sort of three-dimensional printer.

The problem is that no matter how intimidating, these creations crumble into dust after 29 minutes. But Encom's present chief executive 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 very low-tech USB drive. So the ghastly Julian sets his attack dog on her: Ares the warrior, the superhuman fighter which can leave the VR world for twenty-nine minutes at a time but which, in the traditional way of androids, is beginning to show signs of not doing what he's told. Jodie Turner-Smith's performance plays Ares's stoic deputy Athena's role and poor Bridges has a wooden legacy appearance in sage-like white garments, like a Poundshop Jor-El on Krypton.

Acting and Roles Analysis

Moreover, Ares – the hero of the title – is played by Jared Leto with trendy lengthy locks, beard and subtly omniscient grin, details that were perhaps created by typing the words “incredibly irritating” into an AI human creation programme. No one who remembers the 90s TV classic My So-Called Life will ever find it in their hearts to be completely harsh about Jared Leto, and I was also very entertained by his expansive (and widely misinterpreted) comic turn in Ridley Scott's film House of Gucci. But Leto is consistently, persistently awful in this film, although his performance isn't aided by a weak storyline which is intended to allow him to display glimpses of “compassion” for Greta Lee's character and delegate all the villainous actions to Athena's character, thus making her slightly more engaging. It is supposed to be charming when Ares the character says how he loves 80s synth pop and that Depeche Mode band are superior to Mozart's compositions.

Series Features and Overall Impact

Consistent with the franchise identity of the franchise, there are motorbikes from the VR netherworld which speed around the place in long straight lines, conforming to the rectilinear design of antique arcade games (or indeed nightclubs); one even shoots out a lethal beam which slices a police vehicle in half. But there is zero tension or jeopardy or human interest anywhere. This series currently appears as relevant as an in-car CD player.