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The matrix of futility is reloaded in this tediously complex science fiction film, closer to a screensaver than an real cinematic experience. It's a threequel to the classic Tron film from 1982, a film that was mould-breaking and boldly pioneering for its day in a way that eludes this film and its predecessor Tron: Legacy from the previous decade. The new Tron film nearly comes to life just one time – when Evan Peters gets a smack in the face from Gillian Anderson playing his mother, in an traditional bit of analogue reality. This is a bit of firm parenting you might want to administering to all the producers involved in this movie, 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 Tron: Ares

The scenario currently is that an malicious artificial intelligence company 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, portrayed by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger's role, played by David Warner) is led by the founder’s odiously nerdish grandson's character Julian (Evan Peters), who has a grand plan to develop and produce lucrative items such as invincible troops and armored vehicles 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 present chief executive Eve Kim (Greta Lee) has discovered the MacGuffin-y “permanence algorithm” which can maintain these entities permanently, and even stores it on her person on a extremely basic flashdrive. So the dreadful Julian Dillinger deploys his enforcer on her: Ares the warrior, the superhuman fighter which can leave the VR world for 29 minutes at a time but which, in the traditional way of robots, is starting to exhibit symptoms of not doing what he is commanded. Jodie Turner-Smith plays Ares's stoic deputy Athena's role and poor Bridges has a wooden legacy appearance in wise white robes, like a Poundshop Jor-El on Krypton.

Acting and Roles Analysis

And Ares himself – the protagonist of the title – is played by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, touches 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 always find it in their hearts to be completely harsh about Mr Leto, and I was also quite amused by his expansive (and critically misunderstood) comic turn in Ridley Scott's film House of Gucci. But Jared Leto is unremittingly, unrelentingly terrible here, 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 subcontract all the badass wickedness to Athena's character, thus making her marginally more interesting. It is meant to be charming 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 franchise identity of the franchise, there are motorcycles from the VR netherworld which whizz about the environment in long straight lines, conforming to the angular layout of antique arcade games (or indeed nightclubs); one even shoots out a lethal beam which cuts a cop car in half. But there is zero tension or danger or emotional engagement throughout. This franchise now looks as relevant as an in-car CD player.