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The framework of pointlessness is revisited in this tediously complex sci-fi film, more a screensaver than an real cinematic experience. It's a third installment to the original movie Tron from the early 80s, a movie that was groundbreaking and courageously innovative for its day in a way that escapes this film and its forerunner Tron: Legacy from the previous decade. The new Tron film nearly comes to life just once – when Evan Peters gets a smack in the face from Gillian Anderson playing his mum, in an traditional bit of real-world action. This is a bit of firm parenting you might feel like administering to all the producers involved in this movie, 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 The New Tron Film

The situation currently is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger Corp has become a competitor to the virtual reality firm Encom, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger, 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 develop and produce lucrative items such as indestructible soldiers and armored vehicles in the virtual reality grid and then transfer them into the real world 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 discovered the plot-driving “permanence algorithm” which can keep these things alive for ever, and even keeps it on her person on a extremely basic flashdrive. So the dreadful Julian sets his attack dog on her: Ares the warrior, the superhuman fighter which can leave the VR world for 29 minutes at a time but which, in the traditional way of androids, is beginning to show signs of not doing what he is commanded. Jodie Turner-Smith portrays Ares's stoic deputy Athena and poor Bridges has a leaden legacy cameo in sage-like white garments, like a Poundshop Jor-El on Krypton.

Character and Performance Analysis

And Ares himself – the hero of the film's name – is acted by Jared Leto with hipsterish long hair, beard and subtly omniscient grin, details that were possibly created by typing the words “incredibly irritating” into an AI human creation programme. No one who remembers the 1990s television classic My So-Called Life will ever find it in their hearts to be completely harsh about Mr Leto, and I was incidentally quite amused by his expansive (and critically misunderstood) comic turn in Ridley Scott's film House of Gucci. But Leto is consistently, persistently awful in this film, although his performance isn't aided by a weak storyline which is intended to allow him to show flashes of “compassion” for Eve Kim's role and subcontract all the villainous actions to Athena's character, thus making her marginally more interesting. It is meant to be adorable when Ares the character says how he loves 1980s electronic music and that Depeche Mode are better than Mozart's compositions.

Franchise Elements and Final Impression

And in keeping with the brand-identity of the series, there are motorbikes from the virtual underworld which whizz about the environment in long straight lines, adhering to the angular layout of classic video games (or even nightclubs); one even emits a death ray which cuts a police vehicle in two. But there is no drama or jeopardy or emotional engagement throughout. This series now looks as relevant as an in-car CD player.