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The framework of futility is reloaded in this mind-bendingly dull science fiction film, more a screensaver than an actual film. This is a threequel to the classic Tron film from 1982, a movie 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 comes to life just one time – when Evan Peters' character gets a smack in the face from Gillian Anderson playing his mother, in an old-fashioned bit of analogue reality. 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 respected Greta Lee's role and Jodie Turner-Smith being made to look so lifeless.

Story Summary of The New Tron Film

The situation currently is that an evil AI corporation with the obviously criminal name of Dillinger has become a competitor to the virtual reality firm Encom, first established in the 80s arcade-game era by brilliant innovator Kevin Flynn's character, played by Jeff Bridges. This corporation (originally set up 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 virtual reality grid and then export them into the real world using a sort of 3D printer.

The problem 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 maintain these entities permanently, and even stores it on her person on a extremely basic USB drive. So the dreadful Julian sets his attack dog on her: Ares the warrior, the superhuman fighter which can leave the VR world for twenty-nine minutes at a time but which, in the time-honoured way of androids, is beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena and poor Jeff Bridges has a wooden legacy appearance 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 trendy lengthy locks, facial hair and subtly omniscient grin, touches that were possibly designed by inputting the words “incredibly irritating” into an AI human creation programme. Nobody who recalls the 1990s television classic My So-Called Life will always find it in their hearts to be completely harsh about Mr Leto, and I was also quite amused by his broad (and widely misinterpreted) humorous performance in Ridley Scott's film House of Gucci. But Leto is consistently, unrelentingly awful here, although his performance isn't aided 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, thus making her slightly more engaging. It is meant to be adorable when Ares the character says how he loves 80s synth pop and that Depeche Mode band are superior to Mozart's compositions.

Series Features and Final Impression

Consistent with the franchise identity of the series, there are motorbikes from the VR netherworld which speed around the environment in linear paths, adhering to the rectilinear design of classic video games (or even dance clubs); a single bike even shoots out a death ray which slices a cop car in half. But there is no drama or jeopardy or human interest anywhere. This franchise currently appears as relevant as an in-car CD player.