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The matrix of pointlessness is reloaded in this mind-bendingly dull sci-fi movie, more a screensaver than an real cinematic experience. This is a third installment to the classic Tron film from 1982, a movie that was mould-breaking and boldly pioneering for its time in a way that escapes this one and its forerunner Tron: Legacy from 2010. Tron: Ares nearly comes to life just once – when Evan Peters gets a slap in the face from Gillian Anderson's character playing his mother, in an traditional bit of real-world action. This is a piece of tough love you might want to administering to every producer involved in this film, and it's unfortunate to see the respected Greta Lee and Jodie Turner-Smith being made to look so lifeless.

Story Summary of The New Tron Film

The situation now is that an malicious artificial intelligence company 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 brilliant innovator Kevin Flynn's character, portrayed by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger's role, acted by David Warner) is headed by the founder’s odiously nerdish grandson's character Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce profitable things such as invincible troops and armored vehicles in the virtual reality grid and then transfer them into actual reality using a kind of 3D printer.

The problem is that no matter how intimidating, these creations crumble into dust 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 flashdrive. So the ghastly Julian deploys his enforcer on her: Ares, the superhuman fighter which can exit the virtual realm for twenty-nine minutes at a time but which, in the traditional way of robots, is beginning to show signs of not doing what he's told. Jodie Turner-Smith's performance portrays Ares's stoic deputy Athena and unfortunate Jeff Bridges has a leaden legacy cameo in wise white robes, like a budget Jor-El on Krypton's setting.

Acting and Roles Breakdown

Moreover, Ares – the protagonist of the film's name – is acted by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, touches that were perhaps designed by typing the words “extremely annoying” into an artificial intelligence character generator. Nobody who remembers the 90s TV classic My So-Called Life series will ever find it in their hearts to be completely harsh about Jared Leto, and I was incidentally quite amused by his broad (and critically misunderstood) comic turn in Ridley Scott's film House of Gucci. But Jared 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 Greta Lee's character and delegate all the villainous actions to Athena, thus rendering her marginally more interesting. It is meant to be adorable when Ares the character says how he adores 80s synth pop and that Depeche Mode are superior to Mozart.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the franchise, there are motorcycles from the virtual underworld which whizz about the place in long straight lines, conforming to the rectilinear design of antique arcade games (or even dance clubs); a single bike even emits a death ray which cuts a cop car in half. But there is zero tension or danger or human interest throughout. This series currently appears as relevant as an automobile CD system.