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The matrix of futility is reloaded in this mind-bendingly dull sci-fi film, closer to a screensaver than an actual film. It's a threequel to the classic Tron film from 1982, a movie that was mould-breaking and courageously innovative for its day in a way that escapes this one and its forerunner Tron: Legacy from 2010. Tron: Ares nearly comes to life just one time – when Evan Peters gets a slap in the face from Gillian Anderson's character portraying his mother, in an traditional bit of analogue reality. This is a bit of firm parenting you might want to administering to all the producers engaged in this movie, 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 situation currently is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger Corp has become a competitor to the VR company Encom, first established in the 80s arcade-game era by brilliant innovator Kevin Flynn's character, portrayed by Jeff Bridges. This corporation (originally set up by Encom's executive Ed Dillinger, played by David Warner) is led by the founder’s annoyingly geeky grandson's character Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce lucrative items such as indestructible soldiers and armored vehicles in the virtual reality grid and then transfer them into actual reality using a kind of 3D printer.

The problem is that however fearsome, these creations crumble into dust after 29 minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has discovered the MacGuffin-y “permanence algorithm” which can maintain these entities permanently, and even stores it on her person on a very low-tech USB drive. So the dreadful Julian Dillinger sets his attack dog on her: Ares, the superhuman fighter which can exit the virtual realm for twenty-nine minutes at a time but which, in the time-honoured way of robots, is beginning to show signs of not doing what he is commanded. Jodie Turner-Smith portrays Ares's stoic deputy Athena and unfortunate Jeff Bridges has a wooden legacy appearance in sage-like white garments, like a budget Jor-El on Krypton's setting.

Character and Performance Analysis

Moreover, Ares – the hero of the title – is acted by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, touches that were possibly created by inputting the words “incredibly irritating” into an AI human creation programme. No one who recalls the 90s TV classic My So-Called Life will always find it in their hearts to be totally rude about Jared Leto, and I was also quite amused by his broad (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Leto is unremittingly, unrelentingly terrible here, although his performance isn't aided by a weak storyline which is supposed to allow him to display glimpses of “compassion” for Greta Lee's character and subcontract all the badass wickedness to Athena's character, thus rendering her slightly more engaging. It is meant to be adorable when Ares says how he loves 80s synth pop and that Depeche Mode are superior to Mozart.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the series, there are motorbikes from the virtual underworld which speed around the place in long straight lines, adhering to the rectilinear design of classic video games (or even nightclubs); a single bike even shoots out a lethal beam which slices a cop car in half. But there is no drama or danger or emotional engagement throughout. This franchise currently appears as relevant as an automobile CD system.