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The framework of futility is reloaded in this mind-bendingly dull sci-fi movie, closer to a screensaver than an actual film. It's a third installment to the original movie Tron from 1982, a film that was groundbreaking and courageously innovative for its day in a way that eludes this one and its predecessor 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 portraying his mum, in an traditional bit of analogue reality. This is a bit of firm parenting you might feel like administering to every producer involved in this film, and it's unfortunate to see the respected Greta Lee's role and Jodie Turner-Smith's character being made to look so lifeless.

Story Summary of The New Tron Film

The situation currently is that an malicious artificial intelligence company with the obviously criminal name of Dillinger Corp has become a competitor to the virtual reality firm Encom Inc, first established in the 1980s gaming period by genius trailblazer Kevin Flynn, played by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger's role, acted by David Warner) is headed by the founder's odiously nerdish grandson's character Julian Dillinger (Evan Peters), who has a grand plan to develop and produce lucrative items such as indestructible soldiers and tanks in the virtual reality grid and then export them into the real world using a kind of 3D printer.

The problem is that no matter how intimidating, these creations crumble into dust after twenty-nine minutes. But Encom's current CEO Eve Kim (Greta Lee) has discovered the plot-driving “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 dreadful Julian Dillinger deploys his enforcer on her: Ares the warrior, 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 beginning to show signs of not doing what he's told. Jodie Turner-Smith's performance plays Ares's deadpan second-in-command Athena's role and poor Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Acting and Roles Breakdown

Moreover, Ares – the hero of the film's name – is played by Jared Leto with trendy lengthy locks, beard and faintly all-knowing smile, details that were possibly created by inputting the words “incredibly irritating” into an AI human creation programme. Nobody who remembers the 1990s television classic My So-Called Life series will ever find it in their hearts to be completely harsh about Mr Leto, and I was incidentally very entertained by his broad (and widely misinterpreted) comic turn in Ridley Scott's movie House of Gucci. But Leto is unremittingly, persistently terrible here, although his performance isn't aided by a weak storyline which is supposed to allow him to show flashes of “empathy” for Eve Kim's role and subcontract all the villainous actions to Athena's character, thus rendering her marginally more interesting. It is meant to be adorable when Ares the character says how he loves 1980s electronic music and that Depeche Mode are superior to Mozart's compositions.

Franchise Elements and Final Impression

And in keeping with the brand-identity of the series, there are motorcycles from the virtual underworld which whizz about the environment in linear paths, conforming to the rectilinear design of antique arcade games (or indeed dance clubs); a single bike even shoots out a lethal beam which cuts a police vehicle in half. But there is zero tension or danger or human interest anywhere. This franchise now looks as relevant as an in-car CD player.