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The matrix of pointlessness is reloaded in this mind-bendingly dull science fiction film, closer to a screensaver than an actual film. This is a threequel to the original movie Tron from the early 80s, a film that was mould-breaking and boldly pioneering for its time in a way that escapes this one and its predecessor Tron Legacy from the previous decade. The new Tron film almost awakens just once – when Evan Peters' character gets a slap in the face from Gillian Anderson's character portraying his mother, 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 involved in this movie, 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 now is that an evil AI corporation with the obviously criminal name of Dillinger has become a competitor to the VR company Encom, first established in the 1980s gaming period by brilliant innovator Kevin Flynn's character, portrayed by Jeff Bridges. This Dillinger (originally set up by Encom's executive Ed Dillinger's role, acted by David Warner) is headed by the founder’s annoyingly geeky grandson's character Julian (Evan Peters), who has a grand plan to develop and produce profitable things such as invincible troops and armored vehicles in the VR world and then transfer them into the real world using a kind of three-dimensional printer.

The issue is that no matter how intimidating, these creations crumble into dust after 29 minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has uncovered the plot-driving “permanence code” which can maintain these entities for ever, and even stores it on her person on a very low-tech USB drive. So the dreadful Julian Dillinger sets his attack dog on her: Ares, the superhuman fighter which can exit the virtual realm for 29 minutes at a time but which, in the traditional way of androids, is beginning to show signs of not doing what he is commanded. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena's role and poor Jeff Bridges has a wooden legacy appearance in sage-like white garments, like a budget Jor-El on Krypton's setting.

Character and Performance Analysis

Moreover, Ares – the protagonist of the title – is played by Jared Leto with trendy lengthy locks, beard and subtly omniscient grin, touches that were perhaps designed by typing the words “incredibly irritating” into an artificial intelligence character generator. Nobody who recalls the 90s TV classic My So-Called Life series will always find it in their hearts to be completely harsh about Jared Leto, and I was also quite amused by his broad (and critically misunderstood) comic turn in Ridley Scott's movie House of Gucci. But Jared Leto is unremittingly, persistently awful here, although he isn't helped by a weak storyline which is intended to allow him to display glimpses of “compassion” for Eve Kim's role and delegate all the badass wickedness to Athena's character, thus rendering her slightly more engaging. It is supposed to be charming when Ares says how he loves 1980s electronic music and that Depeche Mode are superior to Mozart.

Franchise Elements and Final Impression

Consistent with the brand-identity of the franchise, there are motorcycles from the VR netherworld which speed around the place in long straight lines, conforming to the angular layout of classic video games (or even nightclubs); a single bike even shoots out a death ray which slices a cop car in two. But there is zero tension or jeopardy or emotional engagement throughout. This franchise now looks about as urgently contemporary as an automobile CD system.