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The matrix of pointlessness is revisited in this tediously complex science fiction film, closer to a screensaver than an actual film. It's a threequel to the classic Tron film from the early 80s, a film that was groundbreaking and courageously innovative for its day in a way that eludes this one and its forerunner Tron Legacy from the previous decade. Tron: Ares almost comes to life just one time – when Evan Peters' character gets a slap in the face from Gillian Anderson's character playing 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 every producer involved in this film, and it's sad to see the estimable Greta Lee's role and Jodie Turner-Smith's character being made to look so uninspired.

Story Summary of Tron: Ares

The scenario now 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 1980s gaming period by brilliant innovator Kevin Flynn's character, portrayed by Jeff Bridges. This Dillinger (originally set up by Encom's executive Ed Dillinger, acted by David Warner) is headed by the founder's annoyingly geeky grandson's character Julian Dillinger (Evan Peters), who has a grand plan to design and create profitable things such as indestructible soldiers and tanks in the virtual reality grid and then export them into actual reality using a kind of three-dimensional printer.

The problem is that however fearsome, these things disintegrate after 29 minutes. But Encom's current CEO 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 extremely basic USB drive. So the ghastly Julian deploys his enforcer 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 robots, is starting to exhibit symptoms of disobeying what he is commanded. Jodie Turner-Smith's performance plays Ares's deadpan second-in-command Athena's role and unfortunate Bridges has a leaden legacy cameo 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 played by Jared Leto with hipsterish long hair, beard and subtly omniscient grin, touches that were perhaps created by inputting the words “incredibly irritating” into an AI human creation programme. Nobody who remembers the 90s TV classic My So-Called Life will ever find it in their hearts to be completely harsh about Jared Leto, and I was also very entertained by his expansive (and widely misinterpreted) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is consistently, persistently terrible here, although his performance isn't aided by a weak storyline which is supposed to allow him to show flashes of “empathy” for Eve Kim's role and subcontract all the villainous actions to Athena's character, thus making her slightly more engaging. It is meant to be adorable when Ares says how he loves 1980s electronic music and that Depeche Mode are superior to Mozart.

Series Features and Final Impression

Consistent with the brand-identity of the series, there are motorcycles from the virtual underworld which speed around the place in long straight lines, adhering to the angular layout of classic video games (or even nightclubs); one even shoots out a lethal beam which slices a cop car in two. But there is no drama or danger or human interest anywhere. This franchise currently appears as relevant as an in-car CD player.