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The matrix of futility is reloaded in this mind-bendingly dull sci-fi movie, closer to 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 groundbreaking and boldly pioneering for its day in a way that escapes this one and its predecessor Tron Legacy from the previous decade. Tron: Ares almost comes to life just one time – when Evan Peters gets a slap in the face from Gillian Anderson's character playing his mum, in an traditional bit of real-world action. That's a bit of firm parenting you might want to handing out to every producer involved in this movie, and it's sad to see the respected Greta Lee's role and Jodie Turner-Smith being made to look so uninspired.

Plot Overview of Tron: Ares

The situation currently is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger Corp has become a rival to the VR company Encom Inc, originally set up in the 80s arcade-game era by brilliant innovator Kevin Flynn's character, played by Jeff Bridges. This corporation (initially founded by Encom executive Ed Dillinger's role, played by David Warner) is led by the founder's odiously nerdish grandson's character Julian (Evan Peters), who has a ambitious scheme to develop and produce profitable things such as indestructible soldiers and armored vehicles in the VR world and then export them into actual reality using a sort of three-dimensional printer.

The problem is that no matter how intimidating, these creations disintegrate after 29 minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has uncovered the plot-driving “permanence code” which can keep these things alive permanently, and even stores it on her person on a very low-tech flashdrive. So the dreadful Julian sets his attack dog on her: Ares the warrior, the superhuman fighter which can exit the virtual realm for 29 minutes at a time but which, in the time-honoured way of robots, is beginning to show signs of disobeying what he's told. Jodie Turner-Smith plays Ares's deadpan second-in-command Athena's role and unfortunate Bridges has a leaden legacy cameo in sage-like white garments, like a Poundshop Jor-El on Krypton's setting.

Acting and Roles Breakdown

And Ares himself – the hero of the title – is acted by Jared Leto with trendy lengthy locks, beard and subtly omniscient grin, touches that were possibly created by inputting the words “incredibly irritating” into an AI human creation programme. Nobody who recalls 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 Leto is consistently, persistently terrible here, although he isn't helped by a weak storyline which is intended to allow him to show flashes of “compassion” for Eve Kim's role and subcontract all the badass wickedness to Athena's character, thus rendering her slightly more engaging. It is meant to be adorable when Ares says how he loves 1980s electronic music and that Depeche Mode are better than Mozart's compositions.

Franchise Elements and Final Impression

Consistent with the brand-identity of the series, there are motorcycles from the VR netherworld which whizz about the place in linear paths, conforming to the angular layout of antique arcade games (or even dance clubs); one even shoots out a death ray which cuts a cop car in two. But there is zero tension or danger or emotional engagement anywhere. This series now looks as relevant as an automobile CD system.