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The framework of futility is reloaded in this tediously complex sci-fi movie, closer to a screensaver than an real cinematic experience. This is a third installment to the classic Tron film from the early 80s, a movie that was groundbreaking and boldly pioneering for its time in a way that eludes this one and its predecessor Tron: Legacy from the previous decade. The new Tron film almost awakens just one time – when Evan Peters' character gets a slap in the face from Gillian Anderson's character playing his mother, in an old-fashioned bit of analogue reality. This is a bit of firm parenting you might feel like handing out to every producer engaged in this film, and it's sad to see the respected Greta Lee and Jodie Turner-Smith being made to look so uninspired.

Plot Overview of The New Tron Film

The situation now is that an malicious artificial intelligence company with the unsubtly gangster-ish name of Dillinger has become a rival to the virtual reality firm Encom, originally set up in the 80s arcade-game era by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This corporation (originally set up by Encom executive Ed Dillinger's role, acted by David Warner) is headed by the founder's odiously nerdish grandson's character Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce lucrative items such as indestructible soldiers 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 no matter how intimidating, these things 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 keeps it on her person on a extremely basic flashdrive. So the ghastly Julian Dillinger deploys his enforcer on her: Ares the warrior, the superhuman fighter 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's performance portrays Ares's stoic deputy Athena and unfortunate Bridges has a leaden legacy cameo in sage-like white garments, like a budget Jor-El on Krypton.

Character and Performance Breakdown

Moreover, Ares – the protagonist of the title – is played by Jared Leto with hipsterish long hair, beard and faintly all-knowing smile, touches that were perhaps created by inputting the words “extremely annoying” into an artificial intelligence character generator. Nobody who recalls the 90s TV classic My So-Called Life will ever find it in their hearts to be totally rude about Mr Leto, and I was also quite amused by his broad (and critically misunderstood) humorous performance in Ridley Scott's movie House of Gucci. But Leto is consistently, unrelentingly awful here, although he isn't helped by a limp plot point which is supposed to allow him to show flashes of “compassion” for Eve Kim's role and delegate all the badass wickedness to Athena's character, thus making her marginally more interesting. It is supposed to be adorable when Ares the character says how he adores 80s synth pop and that Depeche Mode band are superior to Mozart's compositions.

Franchise Elements and Overall Impact

And in keeping with the brand-identity of the franchise, there are motorcycles from the VR netherworld which whizz about the place in long straight lines, conforming to the rectilinear design of classic video games (or even dance clubs); a single bike even shoots out a death ray which cuts a cop car in two. But there is no drama or jeopardy or emotional engagement throughout. This franchise currently appears as relevant as an automobile CD system.