🔗 Share this article

The framework of pointlessness is reloaded in this mind-bendingly dull 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 groundbreaking and courageously innovative for its time in a way that escapes this film and its predecessor Tron: Legacy from 2010. The new Tron film almost awakens just once – when Evan Peters gets a smack in the face from Gillian Anderson's character playing his mum, in an traditional bit of analogue reality. That's a bit of firm parenting you might feel like handing out to all the producers involved in this movie, and it's sad to see the respected Greta Lee's role and Jodie Turner-Smith being made to look so uninspired.

Plot Overview of Tron: Ares

The situation currently 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, played by Jeff Bridges. This Dillinger (originally set up by Encom's executive Ed Dillinger, acted by David Warner) is headed by the founder's annoyingly geeky grandson's character Julian (Evan Peters), who has a ambitious scheme to design and create profitable things such as invincible troops and tanks in the virtual reality grid and then export them into actual reality using a sort of 3D printer.

The issue is that however fearsome, these creations disintegrate after 29 minutes. But Encom's current CEO Eve Kim (Greta Lee) has discovered the plot-driving “permanence algorithm” which can keep these things alive permanently, and even stores it on her person on a extremely basic USB drive. So the dreadful Julian deploys his enforcer 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 androids, is beginning to show signs of not doing what he's told. Jodie Turner-Smith plays Ares's stoic deputy Athena and poor Jeff Bridges has a wooden legacy appearance in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Character and Performance Analysis

Moreover, Ares – the hero of the film's name – is acted by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, details that were possibly designed by inputting the words “incredibly irritating” into an AI human creation programme. Nobody who recalls the 1990s television classic My So-Called Life will always 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 Jared Leto is unremittingly, persistently terrible here, although his performance isn't aided by a limp plot point which is intended to allow him to display glimpses of “compassion” for Greta Lee's character and subcontract all the villainous actions to Athena's character, thus making her slightly more engaging. It is supposed to be adorable when Ares the character says how he adores 80s synth pop and that Depeche Mode band are better than Mozart.

Series Features and Overall Impact

Consistent with the franchise identity of the series, there are motorbikes from the virtual underworld which speed around the environment in long straight lines, adhering to the angular layout of classic video games (or indeed dance clubs); one even shoots out a death ray which cuts a police vehicle in two. But there is no drama or jeopardy or human interest throughout. This series now looks as relevant as an automobile CD system.