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The framework of futility is revisited in this mind-bendingly dull sci-fi film, closer to a screensaver than an real cinematic experience. It's a threequel to the classic Tron film from the early 80s, a movie that was groundbreaking and courageously innovative for its day in a way that eludes this one and its predecessor Tron Legacy from 2010. Tron: Ares nearly awakens just once – when Evan Peters gets a slap in the face from Gillian Anderson portraying his mother, in an old-fashioned bit of real-world action. That's a bit of firm parenting you might feel like administering to all the producers engaged in this movie, and it's unfortunate to see the estimable Greta Lee's role and Jodie Turner-Smith being made to look so lifeless.

Story Summary of Tron: Ares

The scenario now is that an evil AI corporation with the obviously criminal name of Dillinger has become a rival to the VR company Encom, originally set up in the 1980s gaming period by brilliant innovator Kevin Flynn, portrayed by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger's role, acted by David Warner) is led by the founder’s odiously nerdish grandson Julian (Evan Peters), who has a grand plan to design and create lucrative items such as indestructible soldiers and tanks in the VR world and then export them into the real world using a sort of 3D printer.

The problem is that however fearsome, these creations disintegrate 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 flashdrive. So the ghastly Julian Dillinger deploys his enforcer 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 not doing what he is commanded. Jodie Turner-Smith's performance plays Ares's stoic deputy Athena's role 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 hero of the film's name – is played by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, touches that were perhaps designed by typing the words “incredibly irritating” into an artificial intelligence character generator. No one who remembers 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 expansive (and critically misunderstood) comic turn in Ridley Scott's film House of Gucci. But Leto is unremittingly, unrelentingly awful in this film, although he isn't helped by a limp plot point which is supposed to allow him to show flashes of “compassion” for Eve Kim's role and delegate all the villainous actions to Athena, thus rendering her slightly more engaging. It is supposed to be adorable when Ares says how he loves 80s synth pop and that Depeche Mode band are better than Mozart.

Series Features and Overall Impact

And in keeping with the brand-identity of the series, there are motorbikes from the virtual underworld which whizz about the place in long straight lines, conforming to the rectilinear design of antique arcade games (or even nightclubs); a single bike even emits a lethal beam which slices a police vehicle in two. But there is zero tension or danger or emotional engagement throughout. This franchise currently appears about as urgently contemporary as an automobile CD system.