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The matrix of pointlessness is revisited in this tediously complex science fiction film, closer to a screensaver than an actual film. This is a threequel to the classic Tron film from the early 80s, a movie that was groundbreaking and boldly pioneering for its day in a way that eludes this one and its predecessor Tron Legacy from the previous decade. The new Tron film nearly awakens just once – when Evan Peters gets a slap in the face from Gillian Anderson portraying his mum, in an traditional bit of real-world action. That's a bit of firm parenting you might feel like handing out to all the producers engaged in this film, and it's unfortunate to see the estimable Greta Lee and Jodie Turner-Smith being made to look so lifeless.

Story Summary of The New Tron Film

The situation currently is that an malicious artificial intelligence company with the unsubtly gangster-ish name of Dillinger Corp has become a competitor to the VR company Encom, originally set up in the 1980s gaming period by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This corporation (initially founded by Encom executive Ed Dillinger, acted by David Warner) is headed by the founder's odiously nerdish grandson's character Julian (Evan Peters), who has a ambitious scheme to design and create profitable things such as indestructible soldiers and tanks in the virtual reality grid and then transfer them into actual reality using a sort of 3D printer.

The problem 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 discovered the MacGuffin-y “permanence code” which can keep these things alive for ever, and even stores it on her person on a very low-tech USB drive. So the ghastly Julian Dillinger deploys his enforcer on her: Ares the warrior, the humanoid uber-warrior which can exit the virtual realm for 29 minutes at a time but which, in the time-honoured way of robots, is beginning to show signs of disobeying what he's told. Jodie Turner-Smith's performance plays Ares's deadpan second-in-command Athena and poor Bridges has a wooden legacy appearance in sage-like white garments, like a Poundshop Jor-El on Krypton.

Acting and Roles Analysis

Moreover, Ares – the hero of the title – is played by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, touches that were possibly designed by inputting the words “extremely annoying” into an AI human creation programme. Nobody who recalls the 1990s television classic My So-Called Life series will always find it in their hearts to be totally rude about Mr Leto, and I was also very entertained by his broad (and widely misinterpreted) comic turn in Ridley Scott's film House of Gucci. But Leto is unremittingly, persistently terrible in this film, although he isn't helped by a weak storyline which is supposed to allow him to show flashes of “empathy” for Eve Kim's role and subcontract all the villainous actions to Athena's character, 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.

Series Features and Final Impression

Consistent with the brand-identity of the series, there are motorcycles from the virtual underworld which speed around the place in long straight lines, adhering to the angular layout of classic video games (or even nightclubs); a single bike even shoots out a lethal beam which slices a police vehicle in two. But there is zero tension or danger or emotional engagement anywhere. This series currently appears as relevant as an in-car CD player.