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The matrix of futility is revisited in this tediously complex sci-fi film, closer to a screensaver than an real cinematic experience. It's a third installment to the original movie Tron from the early 80s, a film that was mould-breaking and boldly pioneering for its time in a way that eludes this film and its forerunner Tron: Legacy from 2010. Tron: Ares almost comes to life just once – when Evan Peters gets a slap in the face from Gillian Anderson's character portraying his mother, in an traditional bit of real-world action. That's a piece of tough love you might feel like handing out to all the producers involved 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.

Plot Overview of Tron: Ares

The scenario now is that an evil AI corporation with the obviously criminal name of Dillinger Corp has become a rival to the virtual reality firm Encom, originally set up in the 1980s gaming period by brilliant innovator Kevin Flynn, portrayed by Jeff Bridges. This corporation (originally set up by Encom executive Ed Dillinger's role, played 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 armored vehicles in the virtual reality grid and then export them into actual reality using a sort of three-dimensional printer.

The issue is that no matter how intimidating, these things crumble into dust 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 keeps it on her person on a extremely basic USB drive. So the dreadful Julian Dillinger sets his attack dog on her: Ares the warrior, the superhuman fighter which can leave the VR world for twenty-nine minutes at a time but which, in the traditional way of robots, is starting to exhibit symptoms of disobeying what he is commanded. Jodie Turner-Smith portrays Ares's stoic deputy Athena and unfortunate Bridges has a wooden legacy appearance in sage-like white garments, like a budget Jor-El on Krypton.

Acting and Roles Breakdown

And Ares himself – the hero of the title – is played by Jared Leto with hipsterish long hair, beard and subtly omniscient grin, details that were perhaps designed by inputting the words “extremely annoying” into an AI human creation programme. Nobody who remembers the 1990s television classic My So-Called Life will always find it in their hearts to be totally rude about Jared Leto, and I was also very entertained by his expansive (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Leto is consistently, persistently awful here, although his performance isn't aided by a limp plot point which is intended to allow him to show flashes of “compassion” for Greta Lee's character and subcontract all the villainous actions to Athena's character, thus making her slightly more engaging. It is meant to be adorable when Ares says how he adores 80s synth pop and that Depeche Mode band are superior to Mozart.

Series Features and Overall Impact

And in keeping with the franchise identity of the series, there are motorbikes from the VR netherworld which speed around the environment in linear paths, adhering to the rectilinear design of classic video games (or even dance clubs); a single bike even emits a death ray which cuts a police vehicle in two. But there is zero tension or jeopardy or emotional engagement anywhere. This franchise currently appears as relevant as an in-car CD player.