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The framework of futility is revisited in this mind-bendingly dull science fiction film, closer to a screensaver than an real cinematic experience. This is a threequel to the classic Tron film from 1982, a movie that was mould-breaking and courageously innovative for its time in a way that escapes this film and its predecessor Tron Legacy from 2010. Tron: Ares almost comes to life just one time – when Evan Peters' character gets a smack in the face from Gillian Anderson portraying his mum, in an old-fashioned bit of analogue reality. That's a bit of firm parenting you might want to administering to every producer engaged in this film, and it's unfortunate to see the estimable Greta Lee's role and Jodie Turner-Smith's character being made to look so uninspired.

Plot Overview of Tron: Ares

The scenario now is that an evil AI corporation with the obviously criminal name of Dillinger Corp has become a rival to the virtual reality firm Encom Inc, first established in the 1980s gaming period by genius trailblazer Kevin Flynn, played by Jeff Bridges. This corporation (initially founded by Encom's executive Ed Dillinger's role, played by David Warner) is headed by the founder’s odiously nerdish grandson's character Julian (Evan Peters), who has a ambitious scheme to design and create lucrative items such as indestructible soldiers and tanks in the virtual reality grid and then transfer them into actual reality using a sort of 3D printer.

The problem is that however fearsome, these things crumble into dust after 29 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 for ever, and even stores it on her person on a very low-tech flashdrive. So the dreadful Julian Dillinger sets his attack dog on her: Ares, 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 beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith's performance portrays Ares's stoic deputy Athena's role and unfortunate Bridges has a leaden legacy cameo in sage-like white garments, like a budget Jor-El on Krypton.

Character and Performance Analysis

And Ares himself – the protagonist of the film's name – is acted by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, touches that were possibly created by typing the words “incredibly irritating” into an AI human creation programme. No one who recalls the 90s TV 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 expansive (and widely misinterpreted) humorous performance in Ridley Scott's movie House of Gucci. But Leto is unremittingly, persistently terrible here, although his performance isn't aided by a limp plot point which is intended to allow him to display glimpses of “empathy” for Greta Lee's character and delegate all the badass wickedness to Athena, thus rendering her marginally more interesting. It is meant to be adorable when Ares the character says how he adores 1980s electronic music and that Depeche Mode are superior to Mozart.

Series Features and Overall Impact

And in keeping with the brand-identity of the series, there are motorbikes from the virtual underworld which whizz about the place in linear paths, conforming to the angular layout of classic video games (or indeed dance clubs); one even emits a lethal beam which cuts a cop car in two. But there is no drama or danger or emotional engagement throughout. This series currently appears about as urgently contemporary as an automobile CD system.