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The framework of pointlessness is reloaded in this tediously complex science fiction film, closer to a screensaver than an actual film. It's a third installment to the classic Tron film from the early 80s, a film that was mould-breaking and boldly pioneering for its day in a way that eludes this one and its forerunner Tron: Legacy from 2010. Tron: Ares nearly awakens just one time – when Evan Peters' character gets a slap in the face from Gillian Anderson portraying his mum, in an traditional bit of analogue reality. This is a piece of tough love you might feel like administering to every producer engaged in this film, and it's sad to see the respected Greta Lee's role and Jodie Turner-Smith's character being made to look so lifeless.

Plot Overview 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 VR company Encom Inc, first established in the 1980s gaming period by brilliant innovator Kevin Flynn, portrayed by Jeff Bridges. This corporation (originally set up by Encom's executive Ed Dillinger, played by David Warner) is led by the founder’s annoyingly geeky grandson's character Julian (Evan Peters), who has a grand plan to develop and produce lucrative items such as indestructible soldiers and tanks in the VR world and then export them into the real world using a kind of 3D printer.

The issue is that no matter how intimidating, these creations disintegrate after twenty-nine minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has discovered the MacGuffin-y “permanence algorithm” which can keep these things alive for ever, and even keeps it on her person on a very low-tech USB drive. So the ghastly Julian sets his attack dog on her: Ares the warrior, the humanoid uber-warrior which can leave the VR world for 29 minutes at a time but which, in the traditional way of androids, is beginning to show signs of not doing what he is commanded. Jodie Turner-Smith's performance portrays Ares's stoic deputy Athena's role and unfortunate Bridges has a wooden legacy appearance in wise white robes, like a budget Jor-El on Krypton's setting.

Acting and Roles Analysis

Moreover, Ares – the protagonist of the title – is played by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, touches that were perhaps designed by inputting the words “incredibly irritating” into an AI human creation programme. No one who remembers the 90s TV classic My So-Called Life will always find it in their hearts to be completely harsh about Mr Leto, and I was also quite amused by his expansive (and widely misinterpreted) comic turn in Ridley Scott's film House of Gucci. But Leto is unremittingly, persistently awful here, although his performance isn't aided by a weak storyline which is intended to allow him to display glimpses of “compassion” 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 adorable when Ares the character says how he loves 80s synth pop and that Depeche Mode band are superior to Mozart.

Series Features and Overall Impact

Consistent with the franchise identity of the series, there are motorcycles from the VR netherworld which speed around the place in long straight lines, conforming to the angular layout of antique arcade games (or indeed nightclubs); one even shoots out a lethal beam which cuts a cop car in two. But there is zero tension or danger or emotional engagement throughout. This series now looks about as urgently contemporary as an automobile CD system.