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The matrix of pointlessness is reloaded in this mind-bendingly dull sci-fi film, closer to 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 film and its predecessor Tron: Legacy from the previous decade. The new Tron film nearly comes to life just one time – when Evan Peters gets a slap in the face from Gillian Anderson portraying his mum, in an traditional bit of analogue reality. This is a bit of firm parenting you might feel like administering to all the producers engaged in this film, and it's unfortunate to see the estimable Greta Lee and Jodie Turner-Smith being made to look so lifeless.

Plot Overview of Tron: Ares

The situation now is that an malicious artificial intelligence company with the unsubtly gangster-ish name of Dillinger Corp has become a competitor to the VR company Encom, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn, 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 annoyingly geeky grandson Julian Dillinger (Evan Peters), who has a grand plan to develop and produce lucrative items such as invincible troops and armored vehicles in the virtual reality grid and then transfer them into the real world using a kind of three-dimensional printer.

The problem is that however fearsome, these things crumble into dust after 29 minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has uncovered the MacGuffin-y “permanence algorithm” which can keep these things alive permanently, and even keeps it on her person on a very low-tech USB drive. So the dreadful Julian Dillinger deploys his enforcer on her: Ares, the humanoid uber-warrior which can leave the VR world for 29 minutes at a time but which, in the traditional way of robots, is starting to exhibit symptoms of not doing what he is commanded. Jodie Turner-Smith's performance portrays Ares's stoic deputy Athena and unfortunate Jeff Bridges has a leaden legacy cameo in sage-like white garments, like a Poundshop Jor-El on Krypton.

Character and Performance Analysis

Moreover, Ares – the hero of the film's name – is played by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, details that were perhaps created by typing the words “incredibly irritating” into an artificial intelligence character generator. No one who remembers the 1990s television classic My So-Called Life series will ever find it in their hearts to be totally rude about Jared Leto, and I was incidentally quite amused by his expansive (and widely misinterpreted) humorous performance in Ridley Scott's film House of Gucci. But Leto is unremittingly, unrelentingly awful in this film, although his performance isn't aided by a weak storyline which is supposed to allow him to show flashes of “compassion” for Greta Lee's character and delegate all the villainous actions to Athena's character, 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'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 rectilinear design of classic video games (or even dance clubs); a single bike even emits a lethal beam which cuts a cop car in two. But there is zero tension or danger or emotional engagement throughout. This franchise now looks as relevant as an in-car CD player.