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The matrix of pointlessness is revisited in this tediously complex sci-fi movie, more a screensaver than an actual film. It's a third installment to the classic Tron film from 1982, a film that was mould-breaking and boldly pioneering for its time in a way that escapes 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 playing his mother, in an old-fashioned bit of real-world action. This is a bit of firm parenting you might feel like handing out to every producer involved in this film, and it's unfortunate to see the estimable Greta Lee's role and Jodie Turner-Smith's character 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 Corp has become a rival to the VR company Encom Inc, originally set up in the 1980s gaming period 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 (Evan Peters), who has a grand plan to develop and produce profitable things such as invincible troops and tanks in the virtual reality grid and then transfer them into actual reality using a sort of 3D printer.

The problem is that however fearsome, these things disintegrate after twenty-nine minutes. But Encom's present chief executive Eve Kim (Greta Lee) has uncovered the MacGuffin-y “permanence algorithm” which can keep these things alive permanently, and even stores it on her person on a very low-tech USB drive. So the dreadful Julian Dillinger sets his attack dog on her: Ares the warrior, the superhuman fighter which can leave the VR world for twenty-nine 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 portrays Ares's stoic deputy Athena's role and unfortunate Bridges has a wooden legacy appearance in sage-like white garments, like a Poundshop 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 faintly all-knowing smile, touches that were perhaps designed by inputting the words “extremely annoying” into an artificial intelligence character generator. Nobody who remembers the 90s TV classic My So-Called Life will always find it in their hearts to be totally rude about Jared Leto, and I was also quite amused by his broad (and critically misunderstood) humorous performance in Ridley Scott's movie House of Gucci. But Leto is consistently, unrelentingly awful in this film, although he isn't helped by a weak storyline which is intended to allow him to display glimpses of “empathy” for Eve Kim's role and delegate all the villainous actions to Athena, thus making her slightly more engaging. It is supposed to be adorable when Ares says how he adores 80s synth pop and that Depeche Mode are superior to Mozart.

Series Features and Final Impression

And in keeping with the brand-identity of the series, there are motorcycles from the VR netherworld which whizz about the place in linear paths, conforming to the angular layout of antique arcade games (or even nightclubs); one even emits a lethal beam which slices a cop car in half. But there is zero tension or danger or human interest anywhere. This series currently appears about as urgently contemporary as an in-car CD player.