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The matrix of pointlessness is reloaded in this tediously complex science fiction movie, closer to a screensaver than an real cinematic experience. It's a threequel to the classic Tron film from the early 80s, a movie that was mould-breaking and boldly pioneering for its day in a way that escapes this film and its forerunner 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's character playing his mum, in an old-fashioned bit of real-world action. That's a piece of tough love you might feel like handing out to all the producers 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.

Plot Overview of Tron: Ares

The situation now is that an malicious artificial intelligence company with the obviously criminal name of Dillinger Corp has become a rival to the virtual reality firm Encom Inc, first established in the 80s arcade-game era by brilliant innovator 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 develop and produce profitable things such as invincible troops and armored vehicles in the VR world and then export them into the real world using a kind of three-dimensional printer.

The problem is that however fearsome, these things crumble into dust after twenty-nine minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has discovered the MacGuffin-y “permanence code” which can keep these things alive permanently, and even keeps it on her person on a very low-tech USB drive. So the dreadful 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 plays Ares's deadpan second-in-command Athena and unfortunate Bridges has a wooden legacy appearance in wise white robes, like a budget Jor-El on Krypton's setting.

Acting and Roles Analysis

Moreover, Ares – the hero of the film's name – is acted by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, touches that were perhaps created by typing the words “extremely annoying” into an AI human creation programme. No one 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 incidentally quite amused by his broad (and widely misinterpreted) humorous performance in Ridley Scott's movie House of Gucci. But Jared Leto is consistently, unrelentingly terrible here, although he isn't helped by a weak storyline which is intended to allow him to show flashes of “empathy” for Eve Kim's role and subcontract all the badass wickedness to Athena, thus making her slightly more engaging. It is meant to be adorable when Ares the character says how he adores 1980s electronic music and that Depeche Mode are better than Mozart's compositions.

Franchise Elements and Overall Impact

And in keeping with the franchise identity of the franchise, there are motorcycles from the virtual underworld which speed around the place in long straight lines, adhering to the angular layout of antique arcade games (or indeed nightclubs); a single bike even emits a death ray which slices a police vehicle in two. But there is no drama or danger or human interest throughout. This franchise currently appears as relevant as an automobile CD system.