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The matrix of pointlessness is reloaded in this tediously complex science fiction film, closer to a screensaver than an actual film. It's a third installment 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 one 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's character playing his mother, in an old-fashioned bit of analogue reality. That's a piece of tough love you might want to administering to every producer involved in this movie, and it's sad to see the respected Greta Lee and Jodie Turner-Smith's character being made to look so lifeless.

Story Summary of Tron: Ares

The situation currently is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger has become a competitor to the virtual reality firm Encom, first established in the 1980s gaming period by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This corporation (originally set up by Encom's executive Ed Dillinger, acted by David Warner) is led by the founder's odiously nerdish grandson Julian Dillinger (Evan Peters), who has a grand plan to design and create profitable things such as invincible troops and tanks in the virtual reality grid and then export them into the real world using a sort of 3D printer.

The problem is that no matter how intimidating, these things crumble into dust after twenty-nine minutes. But Encom's present chief executive Eve Kim (Greta Lee) has uncovered the MacGuffin-y “permanence algorithm” which can keep these things alive for ever, and even keeps it on her person on a very low-tech flashdrive. So the ghastly Julian Dillinger sets his attack dog on her: Ares the warrior, the humanoid uber-warrior which can leave the VR world for twenty-nine 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 stoic deputy Athena and poor Bridges has a leaden legacy cameo in wise white robes, like a budget Jor-El on Krypton's setting.

Acting and Roles Breakdown

And Ares himself – the protagonist of the title – is acted by Jared Leto with trendy lengthy locks, beard and faintly all-knowing smile, details that were possibly designed by typing the words “incredibly irritating” into an artificial intelligence character generator. No one 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 also very entertained by his expansive (and widely misinterpreted) humorous performance in Ridley Scott's film House of Gucci. But Leto is consistently, persistently awful in this film, although he isn't helped by a weak storyline which is supposed to allow him to display glimpses of “empathy” for Greta Lee's character and subcontract all the villainous actions to Athena's character, thus rendering her slightly more engaging. It is supposed to be adorable when Ares says how he loves 80s synth pop and that Depeche Mode band are superior to Mozart's compositions.

Series Features and Overall Impact

Consistent with the brand-identity of the series, there are motorbikes from the virtual underworld which speed around the environment in long straight lines, adhering to the angular layout of antique arcade games (or indeed nightclubs); one even shoots out a lethal beam which slices a police vehicle in two. But there is zero tension or jeopardy or emotional engagement throughout. This series currently appears as relevant as an in-car CD player.