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The framework of pointlessness is revisited in this mind-bendingly dull sci-fi film, closer to a screensaver than an real cinematic experience. It's a third installment to the classic Tron film from the early 80s, a film that was mould-breaking and courageously innovative for its time in a way that eludes this film and its predecessor Tron: Legacy from 2010. Tron: Ares nearly awakens just one time – when Evan Peters' character gets a slap in the face from Gillian Anderson's character portraying his mum, in an old-fashioned bit of real-world action. That's a bit of firm parenting you might feel like handing out to all the producers engaged in this movie, and it's sad to see the estimable Greta Lee's role and Jodie Turner-Smith's character being made to look so uninspired.

Plot Overview of Tron: Ares

The situation currently is that an malicious artificial intelligence company with the obviously criminal name of Dillinger has become a competitor to the virtual reality firm Encom, originally set up in the 80s arcade-game era by brilliant innovator Kevin Flynn, portrayed by Jeff Bridges. This corporation (originally set up by Encom executive Ed Dillinger's role, played by David Warner) is led 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 armored vehicles in the VR world and then transfer them into the real world using a kind of 3D printer.

The problem is that however fearsome, these things crumble into dust after twenty-nine minutes. But Encom's current CEO Eve Kim (Greta Lee) has uncovered the plot-driving “permanence algorithm” which can maintain these entities permanently, and even keeps it on her person on a extremely basic flashdrive. So the dreadful Julian deploys his enforcer on her: Ares, the superhuman fighter which can exit the virtual realm for twenty-nine minutes at a time but which, in the traditional way of androids, is beginning to show signs of not doing what he's told. Jodie Turner-Smith's performance plays Ares's deadpan second-in-command Athena's role and unfortunate Jeff Bridges has a leaden legacy cameo in wise white robes, like a budget Jor-El on Krypton's setting.

Character and Performance Breakdown

And Ares himself – the protagonist of the title – is acted by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, touches that were possibly created by inputting the words “extremely annoying” into an artificial intelligence character generator. 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 expansive (and widely misinterpreted) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is unremittingly, persistently terrible in this film, although his performance isn't aided by a limp plot point which is supposed to allow him to show flashes of “empathy” for Greta Lee's character and subcontract all the villainous actions to Athena's character, thus rendering 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 better than Mozart.

Franchise Elements and Final Impression

Consistent with the franchise identity of the franchise, there are motorbikes from the virtual underworld which speed around the place in long straight lines, conforming to the angular layout of antique arcade games (or even nightclubs); a single bike even emits a lethal beam which cuts a cop car in two. But there is zero tension or jeopardy or emotional engagement throughout. This series currently appears as relevant as an in-car CD player.