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The framework of pointlessness is reloaded in this mind-bendingly dull science fiction film, more a screensaver than an actual film. It's a threequel to the classic Tron film from the early 80s, a film that was mould-breaking and boldly pioneering for its time in a way that escapes this film and its predecessor Tron: Legacy from 2010. The new Tron film nearly awakens just once – when Evan Peters gets a slap 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 engaged in this film, and it's unfortunate to see the estimable Greta Lee's role and Jodie Turner-Smith being made to look so uninspired.

Story Summary of Tron: Ares

The scenario currently is that an evil AI corporation with the obviously criminal name of Dillinger has become a competitor to the virtual reality firm Encom, originally set up in the 1980s gaming period by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger, played by David Warner) is headed by the founder’s odiously nerdish grandson Julian (Evan Peters), who has a grand plan to design and create lucrative items such as invincible troops and armored vehicles in the VR world and then transfer them into the real world using a sort of three-dimensional printer.

The issue is that however fearsome, these creations disintegrate after 29 minutes. But Encom's current CEO Eve Kim (Greta Lee) has uncovered the plot-driving “permanence code” which can maintain these entities for ever, and even stores it on her person on a very low-tech flashdrive. So the ghastly Julian sets his attack dog on her: Ares, the superhuman fighter which can exit the virtual realm for twenty-nine minutes at a time but which, in the traditional 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 unfortunate Jeff Bridges has a wooden legacy appearance in wise white robes, like a budget Jor-El on Krypton's setting.

Character and Performance Breakdown

Moreover, Ares – the hero of the film's name – is played by Jared Leto with hipsterish long hair, beard and subtly omniscient grin, touches that were possibly created by typing the words “incredibly irritating” into an AI human creation programme. No one who recalls the 1990s television classic My So-Called Life will always find it in their hearts to be totally rude about Mr Leto, and I was also very entertained by his expansive (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is unremittingly, persistently awful here, although he isn't helped by a limp plot point which is supposed to allow him to display glimpses of “empathy” for Greta Lee's character and subcontract all the badass wickedness to Athena's character, thus making her slightly more engaging. It is meant to be adorable when Ares the character says how he adores 1980s electronic music and that Depeche Mode are superior to Mozart's compositions.

Series Features and Overall Impact

And in keeping with the franchise identity of the series, there are motorcycles from the VR netherworld which speed around the environment in linear paths, conforming to the angular layout of antique arcade games (or indeed nightclubs); a single bike even emits a death ray which slices a cop car in half. But there is no drama or danger or human interest throughout. This series currently appears as relevant as an in-car CD player.