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The framework of pointlessness is reloaded in this tediously complex science fiction movie, closer to a screensaver than an actual film. This is a threequel to the classic Tron film from the early 80s, a film that was mould-breaking and courageously innovative for its time in a way that escapes this film and its predecessor 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 mother, in an old-fashioned bit of real-world action. This is a bit of firm parenting you might feel like administering to all the producers involved 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 lifeless.

Plot Overview of Tron: Ares

The scenario now is that an evil AI corporation with the obviously criminal name of Dillinger Corp has become a rival to the VR company Encom, originally set up in the 80s arcade-game era by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger's role, played by David Warner) is headed by the founder's odiously nerdish grandson Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce lucrative items such as indestructible soldiers and armored vehicles in the virtual reality grid and then transfer them into actual reality using a kind of three-dimensional 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 plot-driving “permanence algorithm” which can keep these things alive permanently, and even keeps it on her person on a very low-tech USB drive. So the dreadful Julian deploys his enforcer on her: Ares, the humanoid uber-warrior which can exit the virtual realm for 29 minutes at a time but which, in the time-honoured way of robots, is beginning to show signs of disobeying what he's told. Jodie Turner-Smith portrays Ares's deadpan second-in-command Athena and poor Jeff Bridges has a wooden legacy appearance in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Character and Performance Breakdown

Moreover, Ares – the hero of the film's name – is played by Jared Leto with hipsterish long hair, facial hair and faintly all-knowing smile, details that were perhaps designed by inputting the words “extremely annoying” into an AI human creation programme. No one who recalls the 90s TV classic My So-Called Life will always find it in their hearts to be totally rude about Jared Leto, and I was incidentally quite amused by his expansive (and critically misunderstood) comic turn in Ridley Scott's movie House of Gucci. But Jared Leto is unremittingly, persistently terrible in this film, although he isn't helped by a weak storyline which is supposed to allow him to show flashes of “empathy” for Greta Lee's character and subcontract all the villainous actions to Athena's character, thus making her slightly more engaging. It is meant to be charming when Ares says how he adores 80s synth pop and that Depeche Mode band are better than Mozart's compositions.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the franchise, there are motorbikes from the virtual underworld which speed around the place in linear paths, conforming to the angular layout of antique arcade games (or even dance clubs); one even shoots out a death ray which slices a police vehicle in two. But there is no drama or jeopardy or emotional engagement throughout. This series now looks as relevant as an automobile CD system.