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The framework of futility is revisited in this mind-bendingly dull science fiction film, more a screensaver than an actual film. It's a third installment to the classic Tron film from the early 80s, a movie that was mould-breaking and boldly pioneering for its day in a way that escapes this film and its forerunner Tron: Legacy from the previous decade. The new Tron film almost awakens just one time – when Evan Peters' character gets a slap 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 administering to every producer involved in this movie, and it's unfortunate to see the estimable Greta Lee and Jodie Turner-Smith being made to look so lifeless.

Story Summary of Tron: Ares

The situation now 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, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn's character, played by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger, played by David Warner) is headed by the founder's annoyingly geeky grandson Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce profitable things such as invincible troops and armored vehicles in the VR world and then transfer them into the real world using a kind of three-dimensional printer.

The problem is that no matter how intimidating, these things disintegrate after 29 minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has uncovered the plot-driving “permanence code” which can maintain these entities permanently, and even stores it on her person on a very low-tech USB drive. So the ghastly Julian Dillinger sets his attack dog on her: Ares, the superhuman fighter which can exit the virtual realm for 29 minutes at a time but which, in the time-honoured way of robots, is beginning to show signs of not doing what he's told. Jodie Turner-Smith plays Ares's deadpan second-in-command Athena's role and unfortunate Bridges has a wooden legacy appearance in sage-like white garments, like a budget Jor-El on Krypton.

Character and Performance Breakdown

Moreover, Ares – the hero of the title – is played by Jared Leto with hipsterish long hair, facial hair and subtly omniscient grin, details that were possibly designed by typing the words “incredibly irritating” into an AI human creation programme. Nobody who recalls the 1990s television classic My So-Called Life 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) comic turn in Ridley Scott's film House of Gucci. But Leto is consistently, unrelentingly terrible in this film, 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 villainous actions to Athena, thus rendering her marginally more interesting. It is supposed to be adorable when Ares says how he loves 80s synth pop and that Depeche Mode band are better than Mozart's compositions.

Franchise Elements and Overall Impact

And in keeping with the franchise identity of the franchise, there are motorbikes from the VR netherworld which whizz about the place in long straight lines, conforming to the rectilinear design of antique arcade games (or indeed dance clubs); one even emits a lethal beam which cuts a police vehicle in two. But there is zero tension or danger or human interest anywhere. This franchise now looks as relevant as an automobile CD system.