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The matrix of futility is reloaded in this tediously complex sci-fi film, more a screensaver than an real cinematic experience. This is a threequel to the classic Tron film from 1982, a movie that was mould-breaking and boldly pioneering for its time in a way that escapes this film and its forerunner Tron: Legacy from the previous decade. Tron: Ares nearly comes to life just once – when Evan Peters gets a slap in the face from Gillian Anderson portraying his mum, 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 movie, and it's sad to see the respected Greta Lee and Jodie Turner-Smith being made to look so lifeless.

Story Summary of Tron: Ares

The situation currently is that an evil AI corporation with the obviously criminal name of Dillinger has become a competitor to the VR company Encom, first established in the 1980s gaming period by genius trailblazer Kevin Flynn's character, played by Jeff Bridges. This corporation (initially founded by Encom's executive Ed Dillinger's role, played by David Warner) is headed by the founder's annoyingly geeky grandson's character Julian (Evan Peters), who has a ambitious scheme to design and create lucrative items such as invincible troops and armored vehicles in the VR world and then export them into actual reality using a kind of three-dimensional printer.

The issue is that no matter how intimidating, these things disintegrate after 29 minutes. But Encom's current CEO Eve Kim's character (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 very low-tech USB drive. So the ghastly Julian deploys his enforcer on her: Ares the warrior, the humanoid uber-warrior which can leave the VR world for twenty-nine minutes at a time but which, in the time-honoured way of robots, is beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith's performance plays Ares's stoic deputy Athena and unfortunate 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 title – is played by Jared Leto with hipsterish long hair, facial hair and faintly all-knowing smile, touches that were possibly designed by inputting the words “incredibly irritating” into an artificial intelligence character generator. No one who recalls the 1990s television classic My So-Called Life will ever find it in their hearts to be completely harsh about Mr Leto, and I was also very entertained by his broad (and widely misinterpreted) comic turn in Ridley Scott's film House of Gucci. But Jared Leto is consistently, persistently terrible in this film, although he isn't helped by a limp plot point which is intended to allow him to show flashes of “compassion” for Greta Lee's character and delegate all the villainous actions to Athena's character, thus rendering her slightly more engaging. It is meant to be adorable when Ares the character says how he adores 1980s electronic music and that Depeche Mode band are better than Mozart.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the series, there are motorbikes from the VR netherworld which whizz about the place in linear paths, conforming to the rectilinear design of antique arcade games (or even nightclubs); a single bike even shoots out a lethal beam which slices a police vehicle in half. But there is zero tension or danger or human interest anywhere. This franchise currently appears as relevant as an automobile CD system.