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The matrix of futility is reloaded in this tediously complex sci-fi film, closer to a screensaver than an real cinematic experience. It's a threequel to the original movie Tron from the early 80s, a movie that was groundbreaking and boldly pioneering for its time in a way that eludes this one and its predecessor Tron Legacy from the previous decade. The new Tron film almost awakens just one time – when Evan Peters gets a smack in the face from Gillian Anderson's character playing his mother, in an traditional bit of real-world action. This is a piece of tough love you might feel like handing out to all the producers engaged in this movie, and it's sad to see the respected Greta Lee's role and Jodie Turner-Smith's character being made to look so uninspired.

Story Summary of The New Tron Film

The situation now is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger Corp has become a rival to the virtual reality firm Encom Inc, originally set up in the 1980s gaming period by brilliant innovator Kevin Flynn's character, played by Jeff Bridges. This corporation (originally set up by Encom's executive Ed Dillinger, acted by David Warner) is led 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 armored vehicles in the virtual reality grid and then export them into actual reality using a sort of 3D printer.

The issue is that no matter how intimidating, these things disintegrate after 29 minutes. But Encom's present chief executive Eve Kim (Greta Lee) has discovered the MacGuffin-y “permanence code” which can keep these things alive for ever, and even stores it on her person on a very low-tech flashdrive. So the ghastly Julian Dillinger sets his attack dog on her: Ares the warrior, the superhuman fighter which can exit the virtual realm for twenty-nine minutes at a time but which, in the time-honoured way of androids, is beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena and unfortunate Bridges has a leaden legacy cameo in sage-like white garments, like a budget Jor-El on Krypton's setting.

Character and Performance Analysis

Moreover, Ares – the hero of the film's name – is played by Jared Leto with hipsterish long hair, facial hair and subtly omniscient grin, details that were perhaps created by typing the words “extremely annoying” into an artificial intelligence character generator. Nobody who recalls the 1990s television classic My So-Called Life series will always find it in their hearts to be completely harsh about Mr Leto, and I was incidentally very entertained by his broad (and widely misinterpreted) comic turn in Ridley Scott's movie House of Gucci. But Jared Leto is unremittingly, 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 delegate all the villainous actions to Athena, thus rendering her slightly more engaging. It is meant to be adorable when Ares says how he adores 80s synth pop and that Depeche Mode band are better than Mozart's compositions.

Franchise Elements and Overall Impact

And in keeping with the brand-identity of the franchise, there are motorcycles from the VR netherworld which speed around the place in long straight lines, conforming to the rectilinear design of antique arcade games (or indeed dance clubs); one even shoots out a death ray which slices a police vehicle in half. But there is zero tension or jeopardy or emotional engagement anywhere. This franchise now looks as relevant as an in-car CD player.