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The framework of futility is revisited in this tediously complex sci-fi movie, closer to a screensaver than an real cinematic experience. This is a third installment 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 eludes this one and its forerunner Tron Legacy from 2010. The new Tron film nearly comes to life just one time – when Evan Peters gets a smack in the face from Gillian Anderson's character portraying his mum, in an old-fashioned bit of analogue reality. That's a piece of tough love you might want to administering to all the producers engaged in this film, and it's unfortunate to see the respected Greta Lee's role and Jodie Turner-Smith's character being made to look so lifeless.

Story Summary of The New Tron Film

The situation now is that an malicious artificial intelligence company with the obviously criminal name of Dillinger has become a rival to the virtual reality firm Encom, first established in the 80s arcade-game era by brilliant innovator Kevin Flynn's character, portrayed by Jeff Bridges. This corporation (initially founded by Encom executive Ed Dillinger's role, played by David Warner) is led by the founder’s odiously nerdish grandson Julian (Evan Peters), who has a grand plan to design and create profitable things such as invincible troops and tanks in the VR world and then transfer them into actual reality using a sort of three-dimensional printer.

The problem is that however fearsome, these creations disintegrate after twenty-nine minutes. But Encom's current CEO Eve Kim (Greta Lee) has uncovered the MacGuffin-y “permanence algorithm” which can keep these things alive permanently, and even stores it on her person on a very low-tech USB drive. So the dreadful Julian sets his attack dog on her: Ares, the superhuman fighter which can leave the VR world for twenty-nine minutes at a time but which, in the time-honoured way of robots, is beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith plays Ares's stoic deputy Athena and poor Jeff Bridges has a wooden legacy appearance in wise white robes, like a budget Jor-El on Krypton.

Acting and Roles Analysis

And Ares himself – the hero of the title – is played by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, touches that were perhaps designed by inputting 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 completely harsh about Mr Leto, and I was also very entertained by his expansive (and critically misunderstood) comic turn in Ridley Scott's film House of Gucci. But Leto is consistently, persistently terrible in this film, although his performance isn't aided by a limp plot point which is intended to allow him to show flashes of “empathy” for Greta Lee's character and subcontract all the badass wickedness to Athena, thus making her slightly more engaging. It is supposed to be adorable when Ares says how he adores 80s synth pop and that Depeche Mode are superior to Mozart's compositions.

Franchise Elements and Final Impression

And in keeping with the franchise identity of the series, there are motorcycles from the virtual underworld which speed around the environment in linear paths, adhering to the rectilinear design of classic video games (or even nightclubs); a single bike even shoots out a lethal beam which cuts a cop car in half. But there is no drama or danger or emotional engagement throughout. This franchise now looks as relevant as an in-car CD player.