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The framework of pointlessness is reloaded in this tediously complex science fiction movie, more a screensaver than an real cinematic experience. It's a threequel to the classic Tron film from 1982, a movie that was mould-breaking and boldly pioneering for its day in a way that escapes this film and its predecessor Tron Legacy from the previous decade. The new Tron film almost awakens just one time – when Evan Peters gets a smack in the face from Gillian Anderson portraying his mum, in an traditional bit of real-world action. That's a bit of firm parenting you might feel like handing out to all the producers engaged 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 lifeless.

Plot Overview of The New Tron Film

The scenario currently is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger Corp has become a competitor to the virtual reality firm Encom Inc, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn's character, played by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger's role, acted by David Warner) is led by the founder's annoyingly geeky grandson Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce lucrative items such as indestructible soldiers and armored vehicles in the VR world and then export them into actual reality using a kind of 3D printer.

The problem is that however fearsome, these creations crumble into dust after 29 minutes. But Encom's present chief executive Eve Kim (Greta Lee) has discovered the plot-driving “permanence algorithm” which can maintain these entities permanently, and even stores it on her person on a very low-tech USB drive. So the ghastly Julian Dillinger sets his attack dog on her: Ares the warrior, the superhuman fighter which can leave the VR world 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's performance plays Ares's stoic deputy Athena and poor Bridges has a wooden legacy appearance in wise white robes, like a budget Jor-El on Krypton's setting.

Character and Performance Breakdown

And Ares himself – the protagonist of the film's name – is acted by Jared Leto with trendy lengthy locks, beard and subtly omniscient grin, touches that were possibly designed by typing the words “incredibly irritating” into an AI human creation programme. Nobody who recalls the 90s TV classic My So-Called Life series will always find it in their hearts to be totally rude about Jared Leto, and I was incidentally very entertained by his broad (and critically misunderstood) humorous performance in Ridley Scott's movie House of Gucci. But Jared Leto is unremittingly, unrelentingly awful in this film, although his performance isn't aided by a limp plot point which is intended to allow him to show flashes of “compassion” for Eve Kim's role and subcontract all the villainous actions to Athena, thus making her slightly more engaging. It is meant to be charming when Ares the character says how he adores 80s synth pop and that Depeche Mode are superior to Mozart's compositions.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the series, there are motorbikes from the virtual underworld which speed around the place in long straight lines, adhering to the rectilinear design of antique arcade games (or even nightclubs); a single bike even emits a death ray which cuts a police vehicle in half. But there is no drama or danger or emotional engagement throughout. This franchise now looks as relevant as an in-car CD player.