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The framework of futility is revisited in this tediously complex sci-fi film, closer to 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 day in a way that escapes this film and its forerunner Tron: Legacy from 2010. Tron: Ares almost comes to life just once – when Evan Peters' character gets a slap in the face from Gillian Anderson's character playing his mother, in an traditional bit of real-world action. That's a piece of tough love you might feel like handing out to every producer engaged in this film, and it's unfortunate to see the respected Greta Lee and Jodie Turner-Smith's character being made to look so lifeless.

Plot Overview of Tron: Ares

The scenario currently is that an malicious artificial intelligence company with the obviously criminal name of Dillinger Corp has become a competitor to the VR company Encom Inc, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn's character, portrayed by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger's role, acted by David Warner) is led by the founder's odiously nerdish grandson's character Julian (Evan Peters), who has a ambitious scheme to develop and produce lucrative items such as invincible troops and tanks in the virtual reality grid and then export them into the real world using a sort of 3D printer.

The problem 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 discovered the MacGuffin-y “permanence code” which can maintain these entities permanently, and even stores it on her person on a very low-tech flashdrive. So the ghastly Julian deploys his enforcer on her: Ares, the humanoid uber-warrior which can exit the virtual realm for twenty-nine minutes at a time but which, in the traditional way of robots, is beginning to show signs of not doing what he's told. Jodie Turner-Smith portrays Ares's deadpan second-in-command Athena's role and poor Bridges has a leaden legacy cameo in sage-like white garments, like a budget Jor-El on Krypton's setting.

Character and Performance Analysis

And Ares himself – the hero of the title – is played by Jared Leto with hipsterish long hair, beard and subtly omniscient grin, details that were perhaps designed by inputting the words “extremely annoying” into an AI human creation programme. Nobody who recalls the 90s TV classic My So-Called Life will ever find it in their hearts to be completely harsh about Jared Leto, and I was also very entertained 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 he isn't helped by a limp plot point which is supposed to allow him to display glimpses of “compassion” for Eve Kim's role and subcontract all the villainous actions to Athena's character, thus rendering 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 better than Mozart's compositions.

Franchise Elements and Final Impression

Consistent with the brand-identity of the series, there are motorcycles from the virtual underworld which whizz about the place in linear paths, conforming to the angular layout of antique arcade games (or even nightclubs); a single bike even shoots out a lethal beam which cuts a police vehicle in half. But there is no drama or jeopardy or human interest anywhere. This series currently appears as relevant as an automobile CD system.