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The framework of pointlessness is reloaded in this tediously complex sci-fi film, more a screensaver than an real cinematic experience. This is a third installment to the original movie Tron from 1982, a film that was groundbreaking and boldly pioneering for its time in a way that escapes this one and its predecessor Tron Legacy from the previous decade. Tron: Ares nearly comes to life just one time – when Evan Peters' character gets a slap in the face from Gillian Anderson playing his mum, in an traditional bit of real-world action. That's a bit of firm parenting you might feel like handing out to all the producers engaged in this movie, and it's unfortunate to see the respected Greta Lee's role and Jodie Turner-Smith being made to look so uninspired.

Story Summary of Tron: Ares

The situation currently is that an evil AI corporation with the obviously criminal name of Dillinger has become a rival to the virtual reality firm Encom Inc, originally set up in the 80s arcade-game era by genius trailblazer Kevin Flynn's character, portrayed by Jeff Bridges. This corporation (initially founded by Encom's executive Ed Dillinger's role, acted by David Warner) is led by the founder’s odiously nerdish grandson Julian Dillinger (Evan Peters), who has a grand plan to develop and produce lucrative items such as invincible troops and tanks in the VR world and then export them into actual reality using a kind of 3D printer.

The issue is that no matter how intimidating, these things crumble into dust after 29 minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has uncovered the MacGuffin-y “permanence code” which can maintain these entities permanently, and even stores it on her person on a very low-tech USB drive. So the ghastly Julian deploys his enforcer on her: Ares, the humanoid uber-warrior which can leave the VR world for twenty-nine minutes at a time but which, in the traditional way of androids, is starting to exhibit symptoms of disobeying what he is commanded. Jodie Turner-Smith portrays Ares's deadpan second-in-command Athena's role and unfortunate Jeff Bridges has a leaden legacy cameo in sage-like white garments, like a Poundshop Jor-El on Krypton.

Acting and Roles Analysis

Moreover, Ares – the hero of the film's name – is acted by Jared Leto with trendy lengthy locks, beard and faintly all-knowing smile, touches that were perhaps created by typing the words “extremely annoying” into an artificial intelligence character generator. No one who recalls the 1990s television 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 expansive (and widely misinterpreted) comic turn in Ridley Scott's film House of Gucci. But Leto is unremittingly, persistently terrible in this film, although he isn't helped by a weak storyline which is supposed to allow him to display glimpses of “empathy” 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 charming when Ares says how he loves 1980s electronic music and that Depeche Mode band are superior to Mozart.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the series, there are motorbikes from the virtual underworld which whizz about the environment in linear paths, adhering to the angular layout of antique arcade games (or even dance clubs); a single bike even emits a death ray which cuts a cop car in half. But there is zero tension or jeopardy or human interest anywhere. This franchise now looks as relevant as an automobile CD system.