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The framework of pointlessness is reloaded in this mind-bendingly dull science fiction film, closer to a screensaver than an actual film. This is a third installment to the classic Tron film from the early 80s, 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 almost awakens just once – when Evan Peters' character gets a smack in the face from Gillian Anderson playing his mum, in an old-fashioned bit of real-world action. That's a bit of firm parenting you might want to administering to every producer involved in this movie, and it's unfortunate to see the estimable Greta Lee's role and Jodie Turner-Smith being made to look so uninspired.

Plot Overview 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 rival to the virtual reality firm Encom Inc, originally set up in the 1980s gaming period by brilliant innovator Kevin Flynn's character, played by Jeff Bridges. This corporation (initially founded by Encom's executive Ed Dillinger, played by David Warner) is headed by the founder's odiously nerdish grandson Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce profitable things such as invincible troops and tanks in the VR world and then transfer them into the real world using a kind of 3D printer.

The problem is that no matter how intimidating, these things crumble into dust after 29 minutes. But Encom's current CEO Eve Kim (Greta Lee) has discovered the MacGuffin-y “permanence code” which can maintain these entities permanently, and even stores it on her person on a extremely basic USB drive. So the dreadful Julian sets his attack dog on her: Ares the warrior, the superhuman fighter which can exit the virtual realm for twenty-nine minutes at a time but which, in the time-honoured way of androids, is beginning to show signs of not doing what he's told. Jodie Turner-Smith's performance portrays Ares's stoic deputy Athena and poor Jeff Bridges has a wooden legacy appearance in wise white robes, like a Poundshop Jor-El on Krypton.

Acting and Roles Analysis

Moreover, Ares – the protagonist of the film's name – is played by Jared Leto with trendy lengthy locks, beard and faintly all-knowing smile, touches that were perhaps designed by typing the words “incredibly irritating” into an artificial intelligence character generator. Nobody who recalls the 90s TV classic My So-Called Life will always find it in their hearts to be completely harsh about Jared Leto, and I was also quite amused by his broad (and widely misinterpreted) comic turn in Ridley Scott's movie House of Gucci. But Leto is consistently, unrelentingly awful in this film, although his performance isn't aided by a weak storyline which is supposed to allow him to show flashes of “empathy” 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 charming when Ares the character says how he adores 80s synth pop and that Depeche Mode band are better than Mozart's compositions.

Series Features and Final Impression

And in keeping with the franchise identity of the series, there are motorbikes from the virtual underworld which whizz about the place 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 danger or emotional engagement anywhere. This series currently appears as relevant as an in-car CD player.