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The matrix of pointlessness is reloaded in this tediously complex sci-fi film, more a screensaver than an real cinematic experience. This is a third installment to the classic Tron film from the early 80s, a film that was groundbreaking and boldly pioneering for its time in a way that eludes this one and its predecessor Tron Legacy from the previous decade. Tron: Ares nearly awakens just once – when Evan Peters gets a slap in the face from Gillian Anderson portraying his mother, in an traditional bit of analogue reality. That's a piece of tough love you might feel like handing out to all the producers involved in this movie, and it's unfortunate to see the estimable Greta Lee's role and Jodie Turner-Smith's character being made to look so lifeless.

Plot Overview of The New Tron Film

The situation now 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, originally set up 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, acted by David Warner) is led by the founder's annoyingly geeky grandson Julian (Evan Peters), who has a grand plan to design and create profitable things such as invincible troops and tanks in the virtual reality grid and then export them into the real world using a sort of 3D printer.

The issue is that however fearsome, these creations disintegrate after twenty-nine minutes. But Encom's current CEO Eve Kim (Greta Lee) has discovered the plot-driving “permanence algorithm” which can maintain these entities permanently, and even keeps it on her person on a extremely basic USB drive. So the dreadful Julian sets his attack dog on her: Ares, the superhuman fighter which can leave the VR world for 29 minutes at a time but which, in the time-honoured way of androids, is beginning to show signs of disobeying what he's told. Jodie Turner-Smith's performance portrays Ares's stoic deputy Athena and poor 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 hipsterish long hair, facial hair and subtly omniscient grin, details that were perhaps designed by typing the words “incredibly irritating” into an AI human creation programme. No one who remembers the 1990s television classic My So-Called Life series will ever find it in their hearts to be totally rude about Mr Leto, and I was also quite amused 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 weak storyline which is supposed to allow him to show flashes of “compassion” for Greta Lee's character and subcontract all the villainous actions to Athena, thus making her slightly more engaging. It is meant to be charming when Ares says how he adores 1980s electronic music and that Depeche Mode band are superior to Mozart.

Series Features and Final Impression

Consistent with the franchise identity of the series, there are motorbikes from the VR netherworld which whizz about the place in long straight lines, adhering to the angular layout of antique arcade games (or indeed nightclubs); one even emits a lethal beam which slices a police vehicle in half. But there is zero tension or jeopardy or human interest anywhere. This series currently appears as relevant as an automobile CD system.