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The framework of futility is reloaded in this tediously complex sci-fi movie, more a screensaver than an real cinematic experience. It's a third installment to the original movie Tron from 1982, a movie that was mould-breaking and boldly pioneering for its day in a way that escapes this one and its predecessor Tron: Legacy from the previous decade. Tron: Ares nearly comes to life just one time – when Evan Peters gets a smack in the face from Gillian Anderson's character playing his mother, in an traditional bit of analogue reality. This is a bit of firm parenting you might feel like handing out to all the producers engaged in this film, and it's sad 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 evil AI corporation with the unsubtly gangster-ish name of Dillinger has become a rival to the VR company Encom Inc, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn, played by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger, played by David Warner) is led by the founder’s annoyingly geeky grandson's character Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce profitable things such as indestructible soldiers 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 creations disintegrate after 29 minutes. But Encom's current CEO Eve Kim (Greta Lee) has discovered the MacGuffin-y “permanence algorithm” which can maintain these entities for ever, and even keeps it on her person on a very low-tech USB drive. So the dreadful Julian 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 is commanded. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena's role and poor Jeff Bridges has a leaden legacy cameo in sage-like white garments, like a Poundshop Jor-El on Krypton.

Acting and Roles Analysis

Moreover, Ares – the hero of the title – is acted by Jared Leto with hipsterish long hair, facial hair and faintly all-knowing smile, touches that were possibly designed by inputting the words “incredibly irritating” into an artificial intelligence character generator. No one 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 broad (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is unremittingly, unrelentingly terrible in this film, although he isn't helped by a weak storyline which is intended to allow him to display glimpses of “compassion” for Eve Kim's role and subcontract all the villainous actions to Athena's character, thus making her marginally more interesting. It is supposed to be charming when Ares says how he loves 80s synth pop and that Depeche Mode band are better than Mozart's compositions.

Series Features and Overall Impact

And in keeping with the franchise identity of the franchise, there are motorcycles from the VR netherworld which whizz about the place in long straight lines, adhering to the rectilinear design of classic video games (or even nightclubs); a single bike even shoots out a lethal beam which slices a police vehicle in two. But there is zero tension or jeopardy or emotional engagement anywhere. This franchise currently appears as relevant as an automobile CD system.