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The framework of pointlessness is reloaded in this tediously complex science fiction movie, closer to a screensaver than an actual film. It's a threequel to the original movie Tron from 1982, a movie that was mould-breaking and boldly pioneering for its day in a way that escapes this one and its forerunner Tron Legacy from the previous decade. Tron: Ares nearly comes to life just once – when Evan Peters gets a slap in the face from Gillian Anderson portraying his mother, in an traditional bit of real-world action. This is a piece of tough love you might feel like administering to every producer involved in this movie, and it's unfortunate to see the respected Greta Lee's role and Jodie Turner-Smith being made to look so uninspired.

Story Summary of Tron: Ares

The scenario now is that an malicious artificial intelligence company with the obviously criminal name of Dillinger has become a rival to the virtual reality firm Encom, originally set up in the 80s arcade-game era by brilliant innovator Kevin Flynn's character, played by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger's role, played by David Warner) is headed by the founder's annoyingly geeky grandson's character Julian (Evan Peters), who has a ambitious scheme to develop and produce lucrative items such as indestructible soldiers and tanks in the virtual reality grid and then export them into the real world using a kind of three-dimensional printer.

The issue is that no matter how intimidating, these creations crumble into dust after twenty-nine minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has discovered the plot-driving “permanence code” which can keep these things alive for ever, and even keeps it on her person on a extremely basic flashdrive. So the ghastly Julian Dillinger sets his attack dog on her: Ares the warrior, the superhuman fighter which can leave the VR world 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's told. Jodie Turner-Smith's performance portrays Ares's stoic deputy Athena and poor Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton.

Acting and Roles Breakdown

And Ares himself – the hero of the film's name – is played by Jared Leto with trendy lengthy locks, beard and subtly omniscient grin, touches that were perhaps created by typing the words “incredibly irritating” into an AI human creation programme. No one who recalls the 90s TV classic My So-Called Life series will ever find it in their hearts to be completely harsh about Mr Leto, and I was incidentally very entertained by his broad (and widely misinterpreted) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is unremittingly, persistently terrible here, although he isn't helped by a limp plot point which is supposed to allow him to show flashes of “empathy” for Eve Kim's role and subcontract all the villainous actions to Athena, thus making her marginally more interesting. It is supposed to be charming when Ares the character says how he adores 1980s electronic music and that Depeche Mode are better than Mozart's compositions.

Series Features and Overall Impact

And in keeping with the brand-identity of the franchise, there are motorcycles from the virtual underworld which speed around the place in long straight lines, adhering to the rectilinear design of classic video games (or indeed dance clubs); one even emits a death ray which cuts a police vehicle in two. But there is no drama or jeopardy or human interest throughout. This series now looks about as urgently contemporary as an automobile CD system.