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The matrix of pointlessness is reloaded in this mind-bendingly dull sci-fi movie, more a screensaver than an actual film. This is a third installment to the original movie Tron from 1982, a film that was mould-breaking and boldly pioneering for its time in a way that eludes this one and its forerunner Tron Legacy from the previous decade. The new Tron film nearly comes to life just one time – when Evan Peters' character gets a smack in the face from Gillian Anderson portraying his mother, in an traditional bit of real-world action. That's a bit of firm parenting you might want to administering to all the producers engaged in this movie, and it's sad to see the estimable Greta Lee's role and Jodie Turner-Smith's character being made to look so uninspired.

Plot Overview of Tron: Ares

The situation 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 Inc, originally set up in the 1980s gaming period by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger's role, acted by David Warner) is headed by the founder's odiously nerdish grandson Julian (Evan Peters), who has a ambitious scheme to develop and produce 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 problem is that however fearsome, these things disintegrate after 29 minutes. But Encom's current CEO Eve Kim (Greta Lee) has discovered the MacGuffin-y “permanence code” which can keep these things alive permanently, and even keeps it on her person on a very low-tech USB drive. So the ghastly Julian Dillinger 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 starting to exhibit symptoms of disobeying what he is commanded. Jodie Turner-Smith's performance portrays Ares's stoic deputy Athena and unfortunate Bridges has a leaden legacy cameo in wise white robes, like a budget Jor-El on Krypton.

Acting and Roles Analysis

And Ares himself – the hero of the film's name – is played by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, details that were perhaps created by typing the words “extremely annoying” into an artificial intelligence character generator. 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 broad (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is consistently, unrelentingly terrible in this film, although he isn't helped by a limp plot point which is supposed to allow him to display glimpses of “compassion” for Greta Lee's character and subcontract all the badass wickedness to Athena, thus making her slightly more engaging. It is supposed to be adorable when Ares the character says how he adores 80s synth pop and that Depeche Mode band are superior to Mozart's compositions.

Series Features and Overall Impact

Consistent with the brand-identity of the series, there are motorbikes from the VR netherworld which speed around the place in linear paths, conforming to the angular layout of classic video games (or even dance clubs); one even emits a lethal beam which slices a cop car in two. But there is zero tension or jeopardy or human interest throughout. This series now looks about as urgently contemporary as an automobile CD system.