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The matrix of futility is reloaded in this mind-bendingly dull science fiction movie, more a screensaver than an real cinematic experience. This is a threequel to the classic Tron film from 1982, a film that was mould-breaking and boldly pioneering for its day in a way that escapes this one and its predecessor Tron: Legacy from 2010. The new Tron film nearly awakens just once – when Evan Peters' character gets a slap in the face from Gillian Anderson portraying his mum, in an traditional bit of real-world action. That's a bit of firm parenting you might feel like administering to every producer engaged in this film, and it's sad to see the estimable Greta Lee and Jodie Turner-Smith being made to look so uninspired.

Story Summary of The New Tron Film

The scenario now is that an malicious artificial intelligence company with the unsubtly gangster-ish name of Dillinger Corp has become a competitor to the VR company Encom Inc, originally set up in the 1980s gaming period 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 headed by the founder’s annoyingly geeky grandson Julian (Evan Peters), who has a ambitious scheme to develop and produce lucrative items such as invincible troops and armored vehicles in the VR world and then export them into actual reality using a sort of three-dimensional printer.

The problem is that no matter how intimidating, these creations disintegrate after twenty-nine minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has discovered 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 dreadful Julian Dillinger 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 traditional way of androids, is starting to exhibit symptoms of disobeying what he's told. Jodie Turner-Smith's performance plays Ares's stoic deputy Athena's role and poor Bridges has a leaden legacy cameo in sage-like white garments, like a Poundshop Jor-El on Krypton's setting.

Acting and Roles Analysis

Moreover, Ares – the protagonist of the film's name – is acted by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, touches that were perhaps designed by inputting the words “incredibly irritating” into an artificial intelligence character generator. Nobody who recalls 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 very entertained by his broad (and critically misunderstood) humorous performance in Ridley Scott's movie House of Gucci. But Leto is consistently, persistently terrible here, although he isn't helped by a weak storyline which is supposed to allow him to show flashes of “empathy” for Eve Kim's role and delegate all the badass wickedness to Athena, thus making her marginally more interesting. It is meant to be charming when Ares says how he loves 80s synth pop and that Depeche Mode band are superior to Mozart's compositions.

Franchise Elements and Final Impression

And in keeping with the franchise identity of the series, there are motorbikes from the virtual underworld which speed around the environment in long straight lines, adhering to the rectilinear design of classic video games (or indeed nightclubs); a single bike even shoots out a death ray which cuts a police vehicle in two. But there is zero tension or danger or emotional engagement throughout. This franchise now looks as relevant as an in-car CD player.