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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 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 the previous decade. The new Tron film nearly awakens 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. This is a piece of tough love you might want to handing out to all the producers engaged in this film, and it's unfortunate to see the respected Greta Lee and Jodie Turner-Smith's character being made to look so lifeless.

Story Summary of Tron: Ares

The scenario now is that an malicious artificial intelligence company with the obviously criminal name of Dillinger has become a rival to the virtual reality firm Encom Inc, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn, played by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger, played by David Warner) is headed by the founder's odiously nerdish grandson's character Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce lucrative items such as invincible troops and tanks in the virtual reality grid and then transfer them into actual reality using a kind of 3D printer.

The problem is that however fearsome, these things disintegrate after 29 minutes. But Encom's present chief executive Eve Kim (Greta Lee) has uncovered the plot-driving “permanence algorithm” which can keep these things alive permanently, and even stores it on her person on a extremely basic USB drive. So the dreadful Julian deploys his enforcer on her: Ares the warrior, the superhuman fighter which can exit the virtual realm for 29 minutes at a time but which, in the traditional way of androids, is starting to exhibit symptoms of not doing what he's told. Jodie Turner-Smith plays Ares's stoic deputy Athena and poor Jeff Bridges has a leaden legacy cameo in wise white robes, like a budget Jor-El on Krypton.

Character and Performance Analysis

Moreover, Ares – the hero of the film's name – is acted by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, touches that were perhaps created by typing the words “extremely annoying” into an artificial intelligence character generator. No one who recalls the 90s TV classic My So-Called Life will always find it in their hearts to be totally rude about Mr Leto, and I was also quite amused by his expansive (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is consistently, persistently terrible here, 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 rendering her marginally more interesting. It is meant to be adorable when Ares says how he loves 1980s electronic music and that Depeche Mode band are superior to Mozart's compositions.

Franchise Elements and Overall Impact

And in keeping with the brand-identity of the franchise, there are motorbikes from the VR netherworld which whizz about the place in long straight lines, conforming to the angular layout of antique arcade games (or even dance clubs); a single bike even shoots out a lethal beam which cuts a cop car in half. But there is no drama or danger or emotional engagement anywhere. This franchise now looks about as urgently contemporary as an automobile CD system.