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The matrix of futility is reloaded in this mind-bendingly dull science fiction movie, more a screensaver than an actual film. It's a threequel to the classic Tron film from 1982, a movie that was mould-breaking and boldly pioneering for its time in a way that eludes this film and its predecessor Tron: Legacy from 2010. Tron: Ares almost comes to life just one time – when Evan Peters' character gets a slap in the face from Gillian Anderson playing his mother, in an traditional bit of analogue reality. This is a piece of tough love you might want to administering to all the producers involved in this movie, and it's unfortunate to see the respected 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 evil AI corporation with the obviously criminal name of Dillinger has become a rival to the VR company Encom, originally set up in the 80s arcade-game era by genius trailblazer Kevin Flynn, played 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's character Julian Dillinger (Evan Peters), who has a grand plan to design and create profitable things such as indestructible soldiers and tanks in the virtual reality grid and then transfer them into actual reality using a kind of 3D printer.

The issue is that no matter how intimidating, these creations disintegrate 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 for ever, and even keeps it on her person on a extremely basic flashdrive. So the ghastly Julian sets his attack dog on her: Ares the warrior, the humanoid uber-warrior which can exit the virtual realm for twenty-nine minutes at a time but which, in the time-honoured way of androids, is starting to exhibit symptoms of not doing what he is commanded. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena and unfortunate Bridges has a wooden legacy appearance in sage-like white garments, like a Poundshop Jor-El on Krypton's setting.

Character and Performance Analysis

And Ares himself – the protagonist of the title – is acted by Jared Leto with hipsterish long hair, facial hair and faintly all-knowing smile, touches that were perhaps designed by inputting the words “incredibly irritating” into an AI human creation programme. Nobody who remembers the 1990s television classic My So-Called Life will always find it in their hearts to be totally rude about Mr Leto, and I was also very entertained by his broad (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Leto is consistently, unrelentingly awful 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 rendering her marginally more interesting. It is supposed to be charming when Ares the character says how he loves 1980s electronic music and that Depeche Mode band are better than Mozart.

Series Features and Final Impression

And in keeping with the brand-identity of the franchise, there are motorcycles from the virtual underworld which speed around the place in linear paths, adhering to the rectilinear design of antique arcade games (or even dance clubs); one even shoots out a lethal beam which cuts a cop car in half. But there is no drama or danger or emotional engagement throughout. This franchise now looks as relevant as an automobile CD system.