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The matrix of futility is reloaded in this tediously complex science fiction film, closer to 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 courageously innovative for its time in a way that eludes this one and its forerunner Tron Legacy from the previous decade. The new Tron film almost comes to life just once – when Evan Peters gets a slap in the face from Gillian Anderson's character portraying his mum, in an old-fashioned bit of real-world action. That's a bit of firm parenting you might feel like administering to all the producers engaged in this movie, and it's unfortunate to see the respected Greta Lee and Jodie Turner-Smith being made to look so uninspired.

Story Summary of The New Tron Film

The scenario currently is that an evil AI corporation with the obviously criminal name of Dillinger has become a rival to the virtual reality firm Encom Inc, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn, played by Jeff Bridges. This corporation (initially founded by Encom's executive Ed Dillinger, played by David Warner) is led by the founder's annoyingly geeky grandson's character Julian Dillinger (Evan Peters), who has a grand plan to develop and produce profitable things such as invincible troops and armored vehicles in the virtual reality grid and then export them into actual reality using a sort of 3D printer.

The issue 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 MacGuffin-y “permanence algorithm” which can keep these things alive for ever, and even keeps it on her person on a extremely basic flashdrive. So the dreadful Julian Dillinger deploys his enforcer on her: Ares, the superhuman fighter which can exit the virtual realm for twenty-nine minutes at a time but which, in the traditional way of androids, is beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith portrays Ares's stoic deputy Athena's role and unfortunate Jeff Bridges has a leaden legacy cameo in sage-like white garments, like a budget Jor-El on Krypton's setting.

Acting and Roles Analysis

Moreover, Ares – the protagonist of the title – is acted by Jared Leto with hipsterish long hair, beard and subtly omniscient grin, details that were perhaps designed by inputting the words “incredibly irritating” into an AI human creation programme. Nobody who remembers the 90s TV classic My So-Called Life will ever find it in their hearts to be completely harsh about Mr Leto, and I was also quite amused by his expansive (and critically misunderstood) comic turn in Ridley Scott's film House of Gucci. But Leto is unremittingly, persistently terrible in this film, although his performance isn't aided by a limp plot point which is supposed to allow him to display glimpses 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 supposed to be adorable when Ares the character says how he adores 80s synth pop and that Depeche Mode band are better than Mozart's compositions.

Franchise Elements and Final Impression

And in keeping with the franchise identity of the franchise, there are motorbikes from the VR netherworld which whizz about the place in long straight lines, adhering to the rectilinear design of antique arcade games (or indeed nightclubs); a single bike even emits a lethal beam which cuts a cop car in two. But there is no drama or jeopardy or human interest throughout. This franchise currently appears about as urgently contemporary as an automobile CD system.