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The matrix of futility is reloaded in this tediously complex science fiction film, more a screensaver than an real cinematic experience. It's a third installment to the classic Tron film from the early 80s, a film that was groundbreaking and boldly pioneering for its time in a way that escapes this one and its forerunner Tron Legacy from 2010. Tron: Ares almost comes to life just once – when Evan Peters gets a smack in the face from Gillian Anderson's character portraying his mum, in an old-fashioned bit of real-world action. That's a bit of firm parenting you might feel like handing out to all the producers engaged in this movie, and it's unfortunate to see the respected Greta Lee and Jodie Turner-Smith's character being made to look so uninspired.

Plot Overview of The New Tron Film

The scenario now is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger has become a competitor to the virtual reality firm Encom Inc, originally set up in the 80s arcade-game era by brilliant innovator Kevin Flynn's character, played by Jeff Bridges. This corporation (originally set up by Encom executive Ed Dillinger's role, played by David Warner) is led by the founder’s odiously nerdish grandson Julian (Evan Peters), who has a grand plan to design and create lucrative items such as invincible troops and tanks in the virtual reality grid and then export them into the real world using a kind of 3D printer.

The issue is that no matter how intimidating, these things disintegrate after twenty-nine minutes. But Encom's present chief executive Eve Kim (Greta Lee) has uncovered the MacGuffin-y “permanence code” which can keep these things alive for ever, and even stores it on her person on a extremely basic flashdrive. So the ghastly Julian sets his attack dog on her: Ares, the superhuman fighter which can exit the virtual realm for twenty-nine minutes at a time but which, in the time-honoured way of robots, is starting to exhibit symptoms of disobeying what he is commanded. Jodie Turner-Smith's performance plays Ares's deadpan second-in-command Athena's role and unfortunate Bridges has a leaden legacy cameo in sage-like white garments, like a Poundshop Jor-El on Krypton's setting.

Character and Performance Analysis

And Ares himself – the protagonist of the title – is played by Jared Leto with trendy lengthy locks, beard and subtly omniscient grin, touches that were perhaps created by inputting the words “incredibly irritating” into an AI human creation programme. No one who remembers the 1990s television classic My So-Called Life will ever find it in their hearts to be completely harsh about Jared Leto, and I was incidentally quite amused by his broad (and widely misinterpreted) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is unremittingly, unrelentingly awful in this film, although his performance isn't aided by a weak storyline which is supposed to allow him to display glimpses of “compassion” for Eve Kim's role and delegate all the villainous actions to Athena, 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 superior to Mozart's compositions.

Series Features and Final Impression

And in keeping with the brand-identity of the series, there are motorcycles from the VR netherworld which whizz about the place in linear paths, adhering to the rectilinear design of classic video games (or indeed nightclubs); a single bike even emits a lethal beam which cuts a police vehicle in two. But there is zero tension or danger or emotional engagement anywhere. This franchise now looks about as urgently contemporary as an automobile CD system.