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The matrix of pointlessness is reloaded in this mind-bendingly dull sci-fi movie, more a screensaver than an actual film. It's a third installment to the classic Tron film from the early 80s, a movie that was groundbreaking and boldly pioneering for its day in a way that escapes this one and its predecessor Tron: Legacy from the previous decade. The new Tron film almost awakens just one time – when Evan Peters gets a slap in the face from Gillian Anderson portraying his mum, in an old-fashioned bit of real-world action. This is a bit of firm parenting you might want to administering to every producer engaged in this movie, and it's unfortunate to see the estimable Greta Lee's role and Jodie Turner-Smith's character being made to look so lifeless.

Story Summary of Tron: Ares

The situation currently is that an evil AI corporation with the obviously criminal name of Dillinger has become a competitor to the VR company Encom, originally set up in the 80s arcade-game era by genius trailblazer Kevin Flynn's character, portrayed by Jeff Bridges. This corporation (originally set up by Encom executive Ed Dillinger's role, played by David Warner) is headed by the founder's annoyingly geeky grandson Julian (Evan Peters), who has a grand plan to develop and produce lucrative items such as invincible troops and armored vehicles in the VR world and then export them into the real world using a sort of three-dimensional printer.

The issue is that no matter how intimidating, these creations disintegrate after 29 minutes. But Encom's present chief executive Eve Kim (Greta Lee) has uncovered the plot-driving “permanence code” which can maintain these entities for ever, and even keeps it on her person on a very low-tech USB drive. So the ghastly Julian Dillinger sets his attack dog on her: Ares, the superhuman fighter which can leave the VR world for 29 minutes at a time but which, in the time-honoured way of robots, 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 Bridges has a wooden legacy appearance in wise white robes, like a Poundshop 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, details that were perhaps created by inputting the words “incredibly irritating” into an AI human creation programme. Nobody who remembers the 1990s television classic My So-Called Life series will always find it in their hearts to be completely harsh about Mr Leto, and I was also quite amused by his broad (and critically misunderstood) comic turn in Ridley Scott's movie House of Gucci. But Jared 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 Eve Kim's role and subcontract all the badass wickedness to Athena's character, thus making her slightly more engaging. It is meant to be adorable when Ares says how he adores 1980s electronic music and that Depeche Mode band are better than Mozart.

Series Features and Overall Impact

Consistent with the franchise identity of the series, there are motorcycles from the virtual underworld which whizz about the environment in linear paths, conforming to the rectilinear design of antique arcade games (or even dance clubs); one even shoots out a death ray which cuts a police vehicle in two. But there is zero tension or danger or human interest throughout. This franchise now looks as relevant as an in-car CD player.