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The framework of pointlessness is revisited in this tediously complex sci-fi film, more a screensaver than an real cinematic experience. This is a third installment to the classic Tron film from the early 80s, a film that was mould-breaking and boldly pioneering for its day in a way that eludes this one and its predecessor Tron: Legacy from 2010. The new Tron film nearly comes to life just once – when Evan Peters gets a slap in the face from Gillian Anderson's character portraying his mother, in an traditional bit of analogue reality. That's a bit of firm parenting you might want to administering to all the producers engaged in this movie, and it's sad to see the estimable Greta Lee's role and Jodie Turner-Smith being made to look so lifeless.

Story Summary of The New Tron Film

The scenario now is that an malicious artificial intelligence company with the obviously criminal name of Dillinger Corp has become a competitor to the VR company Encom Inc, originally set up in the 80s arcade-game era by brilliant innovator Kevin Flynn's character, portrayed by Jeff Bridges. This Dillinger (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 Dillinger (Evan Peters), who has a ambitious scheme to develop and produce lucrative items such as invincible troops and armored vehicles in the virtual reality grid and then export them into the real world using a sort of 3D printer.

The issue is that no matter how intimidating, these creations crumble into dust after twenty-nine minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has discovered the MacGuffin-y “permanence code” which can maintain these entities for ever, and even keeps it on her person on a very low-tech flashdrive. So the ghastly Julian Dillinger deploys his enforcer on her: Ares, the humanoid uber-warrior which can exit the virtual realm for twenty-nine 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 portrays Ares's deadpan second-in-command Athena's role and unfortunate Jeff Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton.

Acting and Roles Analysis

Moreover, Ares – the protagonist of the title – is acted by Jared Leto with trendy lengthy locks, beard and subtly omniscient grin, details that were perhaps created by inputting the words “incredibly irritating” into an AI human creation programme. No one who remembers the 90s TV classic My So-Called Life series will always find it in their hearts to be totally rude about Mr Leto, and I was also quite amused by his broad (and widely misinterpreted) humorous performance in Ridley Scott's movie House of Gucci. But Leto is unremittingly, persistently awful in this film, although he isn't helped by a limp plot point which is supposed to allow him to show flashes of “compassion” for Eve Kim's role and delegate all the badass wickedness to Athena, thus making her slightly more engaging. It is meant to be charming when Ares the character says how he loves 1980s electronic music and that Depeche Mode band are superior to Mozart.

Franchise Elements and Final Impression

And in keeping with the franchise identity of the franchise, there are motorcycles from the VR netherworld which speed around the place in long straight lines, adhering to the angular layout of classic video games (or even nightclubs); a single bike even emits a death ray which slices a cop car in half. But there is no drama or jeopardy or emotional engagement anywhere. This series now looks as relevant as an in-car CD player.