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The framework of futility is reloaded in this tediously complex science fiction movie, closer to a screensaver than an actual film. It's a threequel 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 one time – when Evan Peters' character gets a smack in the face from Gillian Anderson's character playing his mum, in an old-fashioned bit of real-world action. That's a bit of firm parenting you might want to administering to every producer engaged in this movie, and it's unfortunate to see the estimable Greta Lee and Jodie Turner-Smith being made to look so lifeless.

Story Summary of Tron: Ares

The scenario now is that an malicious artificial intelligence company with the unsubtly gangster-ish name of Dillinger has become a competitor to the virtual reality firm Encom, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn's character, played by Jeff Bridges. This corporation (originally set up by Encom's executive Ed Dillinger, played by David Warner) is led by the founder’s annoyingly geeky grandson's character Julian (Evan Peters), who has a ambitious scheme to develop and produce profitable things such as indestructible soldiers and tanks in the VR world and then transfer them into the real world using a kind of 3D printer.

The issue is that no matter how intimidating, these things crumble into dust after 29 minutes. But Encom's current CEO Eve Kim (Greta Lee) has discovered the plot-driving “permanence code” which can maintain these entities for ever, and even stores it on her person on a extremely basic USB drive. So the dreadful Julian Dillinger sets his attack dog on her: Ares, the humanoid uber-warrior which can exit the virtual realm for twenty-nine minutes at a time but which, in the time-honoured way of androids, is beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith plays Ares's stoic deputy Athena's role and unfortunate Jeff Bridges has a wooden legacy appearance in wise white robes, like a budget Jor-El on Krypton's setting.

Character and Performance Analysis

Moreover, Ares – the hero of the film's name – is played by Jared Leto with hipsterish long hair, beard and subtly omniscient grin, details that were perhaps designed by typing the words “incredibly irritating” into an artificial intelligence character generator. Nobody who remembers the 90s TV classic My So-Called Life series will ever find it in their hearts to be completely harsh about Mr Leto, and I was also very entertained by his expansive (and widely misinterpreted) comic turn in Ridley Scott's movie House of Gucci. But Leto is consistently, unrelentingly awful in this film, although his performance isn't aided by a limp plot point which is intended to allow him to display glimpses of “empathy” for Eve Kim's role and delegate all the badass wickedness to Athena's character, thus making her slightly more engaging. It is supposed to be adorable when Ares says how he adores 1980s electronic music and that Depeche Mode are better than Mozart.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the series, there are motorcycles from the VR netherworld which whizz about the environment in long straight lines, conforming to the angular layout of classic video games (or even dance clubs); one even shoots out a lethal beam which cuts a cop car in half. But there is no drama or jeopardy or emotional engagement throughout. This franchise now looks about as urgently contemporary as an automobile CD system.