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The framework of pointlessness is revisited in this tediously complex science fiction film, more a screensaver than an actual film. It's a third installment 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 comes to life just once – when Evan Peters gets a smack in the face from Gillian Anderson playing his mum, in an old-fashioned bit of analogue reality. That's a bit of firm parenting you might feel like administering to every producer involved in this film, and it's sad to see the respected Greta Lee and Jodie Turner-Smith's character 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 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, portrayed by Jeff Bridges. This corporation (originally set up by Encom executive Ed Dillinger, played by David Warner) is headed by the founder's annoyingly geeky grandson Julian Dillinger (Evan Peters), who has a ambitious scheme to design and create profitable things such as invincible troops and armored vehicles in the virtual reality grid and then transfer them into actual reality using a kind of three-dimensional printer.

The problem is that however fearsome, these creations crumble into dust after twenty-nine minutes. But Encom's present chief executive Eve Kim (Greta Lee) has uncovered the plot-driving “permanence code” which can keep these things alive for ever, and even stores it on her person on a extremely basic USB drive. So the dreadful Julian Dillinger deploys his enforcer on her: Ares the warrior, the humanoid uber-warrior which can leave the VR world for twenty-nine minutes at a time but which, in the traditional way of robots, is starting to exhibit symptoms of not doing what he is commanded. Jodie Turner-Smith plays Ares's stoic deputy Athena's role and unfortunate Jeff Bridges has a wooden legacy appearance in wise white robes, like a Poundshop Jor-El on Krypton.

Character and Performance Analysis

And Ares himself – the hero of the film's name – is played by Jared Leto with trendy lengthy locks, beard and subtly omniscient grin, details that were possibly created by typing the words “extremely annoying” into an AI human creation programme. Nobody who remembers 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 incidentally very entertained by his expansive (and critically misunderstood) comic turn in Ridley Scott's movie House of Gucci. But Leto is consistently, persistently awful in this film, although he isn't helped by a limp plot point which is supposed to allow him to display glimpses of “compassion” for Greta Lee's character and delegate all the villainous actions to Athena's character, thus rendering her marginally more interesting. It is supposed to be adorable when Ares says how he adores 80s synth pop and that Depeche Mode band are superior to Mozart.

Series Features and Overall Impact

Consistent with the franchise identity of the series, there are motorbikes from the virtual underworld which speed around the environment in long straight lines, adhering to the angular layout of antique arcade games (or indeed dance clubs); one even shoots out a lethal beam which cuts a police vehicle in two. But there is no drama or danger or emotional engagement anywhere. This franchise currently appears as relevant as an in-car CD player.