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The framework of pointlessness is reloaded in this mind-bendingly dull science fiction film, more a screensaver than an actual film. It's a third installment to the classic Tron film from 1982, a film that was groundbreaking and boldly pioneering for its day in a way that eludes this one and its forerunner Tron Legacy from 2010. Tron: Ares nearly comes to life just one time – when Evan Peters gets a smack in the face from Gillian Anderson portraying his mother, in an old-fashioned bit of analogue reality. This is a bit of firm parenting you might want to handing out to every producer engaged in this film, and it's sad to see the respected Greta Lee and Jodie Turner-Smith's character being made to look so lifeless.

Plot Overview of The New Tron Film

The situation now is that an malicious artificial intelligence company with the obviously criminal name of Dillinger Corp has become a rival to the virtual reality firm Encom Inc, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This Dillinger (originally set up by Encom's executive Ed Dillinger, acted by David Warner) is led 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 virtual reality grid and then export them into actual reality using a kind of three-dimensional printer.

The issue is that no matter how intimidating, these creations disintegrate after twenty-nine minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has uncovered the plot-driving “permanence algorithm” which can keep these things alive for ever, and even stores it on her person on a extremely basic flashdrive. So the ghastly Julian Dillinger sets his attack dog on her: Ares, 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 androids, is starting to exhibit symptoms of not doing what he is commanded. Jodie Turner-Smith's performance portrays Ares's stoic deputy Athena's role and poor Jeff Bridges has a wooden legacy appearance in wise white robes, like a Poundshop Jor-El on Krypton.

Character and Performance Analysis

Moreover, Ares – the protagonist of the film's name – is played by Jared Leto with hipsterish long hair, facial hair and subtly omniscient grin, touches that were perhaps created by inputting the words “incredibly irritating” into an AI human creation programme. Nobody 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 quite amused by his broad (and critically misunderstood) humorous performance in Ridley Scott's movie House of Gucci. But Jared Leto is unremittingly, unrelentingly awful in this film, although his performance isn't aided by a limp plot point which is supposed to allow him to show flashes of “empathy” for Eve Kim's role and subcontract all the badass wickedness to Athena's character, thus rendering her marginally more interesting. It is supposed to be charming when Ares says how he loves 80s synth pop and that Depeche Mode are better than Mozart.

Franchise Elements and Final Impression

Consistent with the franchise identity of the series, there are motorcycles from the VR netherworld which speed around the environment in linear paths, conforming to the angular layout of antique arcade games (or indeed dance clubs); a single bike even shoots out a lethal beam which slices a police vehicle in two. But there is zero tension or danger or human interest throughout. This series currently appears as relevant as an in-car CD player.