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The framework of futility is revisited in this tediously complex science fiction movie, more a screensaver than an real cinematic experience. It's a third installment to the classic Tron film from 1982, a movie that was mould-breaking and courageously innovative for its time in a way that eludes this one and its predecessor Tron: Legacy from 2010. Tron: Ares nearly comes to life just once – when Evan Peters' character gets a smack in the face from Gillian Anderson portraying his mum, in an traditional bit of real-world action. That's a bit of firm parenting you might want to handing out to all the producers engaged in this movie, and it's unfortunate to see the respected Greta Lee and Jodie Turner-Smith's character being made to look so lifeless.

Story Summary of Tron: Ares

The scenario now is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger Corp has become a rival to the virtual reality firm Encom Inc, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This corporation (originally set up by Encom's executive Ed Dillinger, acted by David Warner) is led by the founder’s odiously nerdish grandson Julian Dillinger (Evan Peters), who has a grand plan to design and create profitable things such as indestructible soldiers and armored vehicles in the virtual reality grid and then transfer them into the real world using a sort of 3D printer.

The problem is that however fearsome, these creations disintegrate after twenty-nine minutes. But Encom's present chief executive Eve Kim (Greta Lee) has uncovered the plot-driving “permanence code” which can maintain these entities permanently, and even keeps it on her person on a extremely basic flashdrive. So the ghastly Julian Dillinger sets his attack dog on her: Ares the warrior, 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 disobeying what he is commanded. Jodie Turner-Smith's performance plays Ares's deadpan second-in-command Athena's role and unfortunate Jeff Bridges has a wooden legacy appearance in sage-like white garments, like a budget Jor-El on Krypton.

Character and Performance Analysis

And Ares himself – the hero of the film's name – is acted by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, details that were perhaps designed by inputting the words “extremely annoying” into an AI human creation programme. No one 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 quite amused by his broad (and widely misinterpreted) humorous performance in Ridley Scott's film House of Gucci. But Leto is unremittingly, persistently terrible here, although he isn't helped by a limp plot point which is supposed to allow him to display glimpses of “empathy” for Eve Kim's role and delegate all the badass wickedness to Athena, thus rendering her marginally more interesting. It is supposed to be adorable when Ares says how he adores 1980s electronic music and that Depeche Mode band are superior to Mozart's compositions.

Franchise Elements and Final Impression

Consistent with the franchise identity of the franchise, there are motorcycles from the virtual underworld which whizz about the place in long straight lines, conforming to the angular layout of classic video games (or indeed nightclubs); one even emits a death ray which cuts a police vehicle in two. But there is zero tension or danger or emotional engagement anywhere. This franchise currently appears as relevant as an in-car CD player.