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The matrix of futility is reloaded in this tediously complex science fiction film, more a screensaver than an actual film. This is a third installment to the classic Tron film from the early 80s, a film that was groundbreaking and courageously innovative for its time in a way that escapes this one and its forerunner Tron: Legacy from the previous decade. Tron: Ares nearly awakens just once – when Evan Peters' character gets a slap in the face from Gillian Anderson's character portraying his mother, in an old-fashioned bit of analogue reality. This is a bit of firm parenting you might feel like handing out 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.

Plot Overview of Tron: Ares

The situation currently is that an evil AI corporation with the obviously criminal name of Dillinger has become a rival to the VR company Encom, originally set up in the 80s arcade-game era by genius trailblazer Kevin Flynn, played by Jeff Bridges. This Dillinger (originally set up by Encom's executive Ed Dillinger's role, played by David Warner) is headed by the founder’s odiously nerdish 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 transfer them into the real world using a sort of three-dimensional printer.

The problem is that no matter how intimidating, these things 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 algorithm” which can keep these things alive permanently, and even stores it on her person on a very low-tech USB drive. So the dreadful Julian deploys his enforcer on her: Ares, the humanoid uber-warrior which can leave the VR world for 29 minutes at a time but which, in the traditional way of robots, is starting to exhibit symptoms of not doing what he is commanded. Jodie Turner-Smith's performance portrays Ares's stoic deputy Athena and unfortunate Bridges has a wooden legacy appearance in wise white robes, like a Poundshop Jor-El on Krypton.

Character and Performance Analysis

Moreover, Ares – the protagonist of the title – is played by Jared Leto with trendy lengthy locks, beard and faintly all-knowing smile, details that were perhaps designed by typing the words “incredibly irritating” into an artificial intelligence character generator. Nobody who recalls the 90s TV classic My So-Called Life will ever find it in their hearts to be completely harsh about Mr Leto, and I was also very entertained by his expansive (and critically misunderstood) comic turn in Ridley Scott's movie House of Gucci. But Leto is unremittingly, unrelentingly terrible in this film, although he isn't helped by a weak storyline which is supposed to allow him to show flashes 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 charming when Ares says how he adores 1980s electronic music and that Depeche Mode are superior to Mozart.

Series Features and Final Impression

Consistent with the franchise identity of the series, there are motorcycles from the VR netherworld which speed around the environment in linear paths, adhering to the rectilinear design of antique arcade games (or even nightclubs); one even shoots out a lethal beam which cuts a police vehicle in half. But there is no drama or jeopardy or human interest throughout. This series currently appears as relevant as an automobile CD system.