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The matrix of pointlessness is reloaded in this tediously complex sci-fi movie, more a screensaver than an real cinematic experience. This is a threequel to the classic Tron film from 1982, a film that was mould-breaking and boldly pioneering for its time in a way that eludes this one and its forerunner Tron: Legacy from the previous decade. The new Tron film almost awakens just once – when Evan Peters' character gets a smack in the face from Gillian Anderson's character playing his mother, in an old-fashioned bit of real-world action. That's a piece of tough love you might feel like handing out 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.

Story Summary of Tron: Ares

The scenario now is that an malicious artificial intelligence company with the obviously criminal name of Dillinger has become a rival to the virtual reality firm Encom, originally set up in the 1980s gaming period by genius trailblazer Kevin Flynn's character, portrayed by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger's role, played by David Warner) is headed by the founder's annoyingly geeky grandson's character 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 three-dimensional printer.

The problem is that no matter how intimidating, these creations disintegrate after 29 minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has discovered the plot-driving “permanence algorithm” which can maintain these entities for ever, and even stores it on her person on a very low-tech flashdrive. So the ghastly Julian Dillinger 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 traditional way of androids, is beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith portrays Ares's deadpan second-in-command Athena's role and unfortunate Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Character and Performance Breakdown

Moreover, Ares – the hero of the film's name – is played by Jared Leto with trendy lengthy locks, beard and subtly omniscient grin, touches that were possibly designed by inputting the words “incredibly irritating” into an AI human creation programme. Nobody who remembers the 1990s television classic My So-Called Life will ever find it in their hearts to be completely harsh about Mr Leto, and I was incidentally very entertained by his expansive (and widely misinterpreted) comic turn in Ridley Scott's film House of Gucci. But Leto is unremittingly, persistently awful in this film, although he isn't helped by a limp plot point 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 marginally more interesting. It is meant to be charming when Ares the character says how he loves 80s synth pop and that Depeche Mode band are superior to Mozart.

Series Features and Overall Impact

Consistent with the franchise identity of the franchise, there are motorcycles from the VR netherworld which speed around the environment in linear paths, conforming to the rectilinear design of classic video games (or indeed nightclubs); one even emits a death ray which cuts a cop car in two. But there is zero tension or jeopardy or emotional engagement throughout. This series currently appears as relevant as an in-car CD player.