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The matrix of pointlessness is reloaded in this tediously complex science fiction film, closer to a screensaver than an real cinematic experience. It's a threequel to the original movie Tron from 1982, a movie that was groundbreaking and boldly pioneering for its time in a way that eludes this one and its forerunner Tron Legacy from the previous decade. The new Tron film nearly awakens just once – when Evan Peters' character gets a smack in the face from Gillian Anderson playing his mum, in an old-fashioned bit of real-world action. That's a bit of firm parenting you might feel like administering to all the producers engaged in this movie, and it's sad to see the respected Greta Lee's role and Jodie Turner-Smith being made to look so uninspired.

Plot Overview 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 VR company Encom, first established in the 80s arcade-game era 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 annoyingly geeky grandson Julian (Evan Peters), who has a grand plan to develop and produce lucrative items such as indestructible soldiers and armored vehicles in the virtual reality grid and then transfer them into the real world using a sort of 3D printer.

The problem is that however fearsome, these things 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 permanently, and even keeps it on her person on a very low-tech flashdrive. So the ghastly Julian sets his attack dog on her: Ares, the humanoid uber-warrior 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's told. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena's role and unfortunate Jeff Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton.

Acting and Roles Breakdown

Moreover, Ares – the hero of the title – is acted by Jared Leto with trendy lengthy locks, beard and faintly all-knowing smile, details that were perhaps designed by typing the words “incredibly irritating” into an AI human creation programme. No one who recalls the 90s TV classic My So-Called Life will ever find it in their hearts to be completely harsh about Jared Leto, and I was incidentally quite amused by his broad (and widely misinterpreted) comic turn in Ridley Scott's movie House of Gucci. But Leto is unremittingly, unrelentingly awful in this film, although he isn't helped by a weak storyline which is intended to allow him to display glimpses of “empathy” for Eve Kim's role and delegate all the villainous actions to Athena's character, thus rendering her slightly more engaging. It is meant to be charming when Ares says how he loves 80s synth pop and that Depeche Mode band are better than Mozart's compositions.

Franchise Elements and Final Impression

And in keeping with the franchise identity of the series, there are motorbikes from the virtual underworld which whizz about the environment in long straight lines, conforming to the rectilinear design of classic video games (or even dance clubs); one even shoots out a death ray which cuts a police vehicle in two. But there is zero tension or danger or human interest anywhere. This franchise now looks as relevant as an in-car CD player.