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The matrix of pointlessness is reloaded in this tediously complex science fiction movie, more a screensaver than an real cinematic experience. It's a third installment to the classic Tron film from the early 80s, a film that was mould-breaking and boldly pioneering for its day in a way that eludes this one and its forerunner Tron Legacy from 2010. The new Tron film nearly awakens 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 real-world action. That's a bit of firm parenting you might feel like handing out 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 uninspired.

Plot Overview of Tron: Ares

The scenario now is that an malicious artificial intelligence company with the unsubtly gangster-ish 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 (initially founded by Encom's executive Ed Dillinger, acted by David Warner) is headed by the founder's odiously nerdish grandson Julian (Evan Peters), who has a grand plan to design and create profitable things such as invincible troops and tanks in the VR world and then transfer them into the real world using a sort of three-dimensional printer.

The problem is that no matter how intimidating, these creations crumble into dust after 29 minutes. But Encom's current CEO Eve Kim (Greta Lee) has uncovered the MacGuffin-y “permanence code” which can keep these things alive permanently, and even stores 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 leave the VR world for twenty-nine minutes at a time but which, in the time-honoured way of robots, is beginning to show signs of not doing what he is commanded. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena and unfortunate Jeff 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 protagonist of the title – is played by Jared Leto with hipsterish long hair, beard and faintly all-knowing smile, details that were perhaps created by typing the words “extremely annoying” into an artificial intelligence character generator. No one who remembers the 90s TV classic My So-Called Life series will always find it in their hearts to be completely harsh about Jared Leto, and I was also very entertained by his expansive (and critically misunderstood) comic turn in Ridley Scott's film House of Gucci. But Leto is unremittingly, unrelentingly terrible here, although his performance isn't aided by a weak storyline which is supposed to allow him to display glimpses 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 adores 1980s electronic music and that Depeche Mode band are better than Mozart.

Series Features and Overall Impact

Consistent with the brand-identity of the franchise, there are motorcycles from the virtual underworld which speed around the place in long straight lines, adhering to the rectilinear design of antique arcade games (or indeed nightclubs); a single bike even shoots out a lethal beam which slices a police vehicle in half. But there is zero tension or danger or human interest anywhere. This franchise now looks as relevant as an automobile CD system.