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The framework of futility is revisited in this mind-bendingly dull science fiction movie, closer to a screensaver than an real cinematic experience. This is a threequel to the original movie Tron from 1982, a movie that was groundbreaking and courageously innovative for its day in a way that escapes this film and its predecessor Tron Legacy from the previous decade. Tron: Ares nearly comes to life just one time – when Evan Peters' character gets a smack in the face from Gillian Anderson playing his mother, in an old-fashioned bit of real-world action. That's a bit of firm parenting you might want to administering to every producer involved in this movie, and it's sad to see the respected Greta Lee and Jodie Turner-Smith being made to look so uninspired.

Plot Overview of Tron: Ares

The situation currently is that an evil AI corporation with the obviously criminal name of Dillinger Corp has become a rival to the VR company Encom Inc, originally set up in the 80s arcade-game era by genius trailblazer Kevin Flynn's character, played by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger, acted by David Warner) is headed by the founder’s annoyingly geeky grandson's character Julian Dillinger (Evan Peters), who has a grand plan to design and create profitable things such as invincible troops and tanks in the virtual reality grid and then export them into the real world using a kind of 3D printer.

The issue is that no matter how intimidating, these creations crumble into dust after twenty-nine minutes. But Encom's current CEO Eve Kim (Greta Lee) has discovered the plot-driving “permanence code” which can keep these things alive permanently, and even stores it on her person on a extremely basic USB drive. So the ghastly Julian Dillinger 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 time-honoured way of robots, is starting to exhibit symptoms of not doing what he is commanded. Jodie Turner-Smith portrays Ares's stoic deputy Athena's role and unfortunate Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Character and Performance Breakdown

Moreover, Ares – the hero of the film's name – is played by Jared Leto with trendy lengthy locks, beard and subtly omniscient grin, touches that were possibly created by typing the words “extremely annoying” 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 Jared Leto, and I was also quite amused by his expansive (and widely misinterpreted) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is consistently, persistently terrible in this film, although his performance isn't aided by a weak storyline which is intended to allow him to display glimpses of “compassion” for Greta Lee's character and subcontract all the badass wickedness to Athena, thus rendering her slightly more engaging. It is supposed to be adorable when Ares the character says how he loves 80s synth pop and that Depeche Mode band are superior to Mozart's compositions.

Series Features and Final Impression

Consistent with the brand-identity of the franchise, there are motorcycles from the virtual underworld which speed around the place in long straight lines, adhering to the angular layout of antique arcade games (or indeed dance clubs); a single bike even shoots out a death ray which cuts a police vehicle in two. But there is no drama or danger or human interest anywhere. This franchise now looks about as urgently contemporary as an automobile CD system.