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The matrix of pointlessness is reloaded in this tediously complex sci-fi movie, closer to a screensaver than an real cinematic experience. This is a threequel to the original movie Tron from 1982, a movie that was mould-breaking and courageously innovative for its time in a way that escapes this one and its predecessor Tron: Legacy from 2010. The new Tron film nearly awakens just one time – when Evan Peters' character gets a slap in the face from Gillian Anderson's character portraying his mum, in an traditional bit of real-world action. This is a bit of firm parenting you might want to administering to every producer engaged in this film, and it's unfortunate to see the estimable Greta Lee and Jodie Turner-Smith's character being made to look so uninspired.

Story Summary of Tron: Ares

The situation 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, originally set up in the 80s arcade-game era by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This corporation (originally set up by Encom executive Ed Dillinger's role, acted by David Warner) is headed by the founder's annoyingly geeky grandson Julian (Evan Peters), who has a grand plan to design and create lucrative items such as indestructible soldiers and armored vehicles in the VR world and then export them into the real world using a sort of 3D printer.

The issue is that however fearsome, these things crumble into dust after twenty-nine minutes. But Encom's present chief executive Eve Kim (Greta Lee) has discovered the plot-driving “permanence code” which can maintain these entities permanently, and even keeps it on her person on a extremely basic USB drive. So the ghastly Julian deploys his enforcer on her: Ares the warrior, the humanoid uber-warrior which can exit the virtual realm for 29 minutes at a time but which, in the time-honoured way of androids, is beginning to show signs of not doing what he is commanded. Jodie Turner-Smith's performance plays Ares's deadpan second-in-command Athena and poor Bridges has a wooden legacy appearance in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Acting and Roles Breakdown

Moreover, Ares – the protagonist of the film's name – is acted by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, details that were perhaps designed by typing the words “incredibly irritating” into an AI human creation programme. No one who recalls the 90s TV classic My So-Called Life will ever find it in their hearts to be totally rude about Jared Leto, and I was incidentally very entertained by his expansive (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Leto is consistently, unrelentingly terrible in this film, although his performance isn't aided by a limp plot point which is supposed to allow him to display glimpses of “compassion” for Eve Kim's role and subcontract all the villainous actions to Athena, thus making her slightly more engaging. It is meant to be charming when Ares the character says how he adores 80s synth pop and that Depeche Mode are superior to Mozart's compositions.

Franchise Elements and Final Impression

And in keeping with the brand-identity of the series, there are motorcycles from the virtual underworld which whizz about the environment in long straight lines, adhering to the rectilinear design of antique arcade games (or even dance clubs); a single bike even emits a lethal beam which cuts a cop car in half. But there is no drama or jeopardy or emotional engagement anywhere. This franchise currently appears as relevant as an automobile CD system.