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The matrix of pointlessness is revisited in this mind-bendingly dull science fiction movie, more a screensaver than an real cinematic experience. It's a third installment to the classic Tron film from the early 80s, a film that was groundbreaking and boldly pioneering for its time in a way that eludes this one and its forerunner Tron Legacy from the previous decade. 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 analogue reality. That's a bit of firm parenting you might feel like administering to every producer engaged in this film, and it's unfortunate to see the estimable Greta Lee's role and Jodie Turner-Smith being made to look so uninspired.

Plot Overview 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, first established in the 1980s gaming period by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This corporation (initially founded by Encom's executive Ed Dillinger, acted by David Warner) is led by the founder’s annoyingly geeky grandson Julian (Evan Peters), who has a grand plan to develop and produce profitable things such as invincible troops and armored vehicles in the virtual reality grid and then export them into actual reality using a kind of 3D printer.

The problem is that no matter how intimidating, these things crumble into dust after twenty-nine minutes. But Encom's current CEO Eve Kim (Greta Lee) has uncovered the plot-driving “permanence algorithm” which can maintain these entities for ever, and even stores it on her person on a extremely basic USB drive. So the ghastly Julian 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 traditional way of robots, is beginning to show signs of disobeying what he's told. Jodie Turner-Smith plays Ares's stoic deputy Athena and unfortunate Bridges has a leaden legacy cameo in sage-like white garments, like a Poundshop Jor-El on Krypton.

Acting and Roles Breakdown

Moreover, Ares – the hero of the title – is acted 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 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 incidentally quite amused by his expansive (and critically misunderstood) humorous performance in Ridley Scott's movie House of Gucci. But Leto is consistently, persistently terrible here, although he isn't helped by a limp plot point which is intended to allow him to display glimpses of “empathy” for Eve Kim's role and delegate all the villainous actions to Athena's character, thus rendering her slightly more engaging. It is meant to be charming when Ares says how he loves 1980s electronic music and that Depeche Mode band are superior to Mozart.

Franchise Elements and Overall Impact

Consistent 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 angular layout of antique arcade games (or indeed dance clubs); one even emits a death ray which slices a cop car in two. But there is zero tension or danger or emotional engagement anywhere. This franchise now looks as relevant as an automobile CD system.