🔗 Share this article

The matrix of pointlessness is reloaded in this tediously complex sci-fi movie, more a screensaver than an real cinematic experience. This is a threequel to the classic Tron film from the early 80s, a film that was groundbreaking and boldly pioneering for its time in a way that eludes this film and its predecessor Tron: Legacy from the previous decade. Tron: Ares almost awakens just once – when Evan Peters gets a smack in the face from Gillian Anderson's character playing his mum, in an old-fashioned bit of real-world action. That's a bit of firm parenting you might want to handing out to all the producers involved in this movie, and it's unfortunate to see the estimable Greta Lee's role and Jodie Turner-Smith being made to look so uninspired.

Story Summary of The New Tron Film

The scenario now is that an evil AI corporation with the obviously criminal name of Dillinger has become a competitor to the virtual reality firm Encom, originally set up in the 1980s gaming period by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This Dillinger (originally set up by Encom's executive Ed Dillinger, acted by David Warner) is led 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 invincible troops and tanks in the VR world and then export them into the real world using a kind of three-dimensional printer.

The issue is that however fearsome, these creations disintegrate after 29 minutes. But Encom's present chief executive Eve Kim (Greta Lee) has uncovered the MacGuffin-y “permanence code” which can keep these things alive for ever, and even keeps it on her person on a very low-tech 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 29 minutes at a time but which, in the time-honoured way of robots, is starting to exhibit symptoms of disobeying what he's told. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena and poor Jeff Bridges has a wooden legacy appearance in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Character and Performance Breakdown

Moreover, Ares – the hero of the film's name – is acted by Jared Leto with hipsterish long hair, facial hair and faintly all-knowing smile, touches that were possibly designed by inputting the words “incredibly irritating” into an artificial intelligence character generator. Nobody who recalls the 90s TV classic My So-Called Life will always find it in their hearts to be completely harsh about Jared Leto, and I was incidentally very entertained by his expansive (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Leto is consistently, unrelentingly terrible in this film, although he isn't helped by a weak storyline which is supposed to allow him to show flashes of “compassion” for Eve Kim's role and subcontract all the villainous actions to Athena, thus making her slightly more engaging. It is supposed to be charming when Ares the character says how he adores 80s synth pop and that Depeche Mode band are superior to Mozart.

Series Features and Overall Impact

And in keeping with the franchise identity of the series, there are motorcycles from the virtual underworld which whizz about the environment in long straight lines, adhering to the angular layout of classic video games (or indeed dance clubs); one even shoots out a lethal beam which slices a cop car in two. But there is zero tension or jeopardy or emotional engagement anywhere. This series now looks as relevant as an automobile CD system.