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The matrix of futility is reloaded in this tediously complex sci-fi movie, more a screensaver than an real cinematic experience. This is a third installment to the original movie Tron from the early 80s, a movie that was mould-breaking and boldly pioneering for its time in a way that eludes this one and its predecessor Tron: Legacy from the previous decade. Tron: Ares nearly comes to life just once – when Evan Peters' character gets a slap in the face from Gillian Anderson's character playing his mum, in an traditional bit of analogue reality. This is a piece of tough love you might feel like handing out to every producer involved in this movie, and it's unfortunate to see the estimable Greta Lee's role and Jodie Turner-Smith being made to look so lifeless.

Plot Overview of Tron: Ares

The situation now is that an malicious artificial intelligence company with the obviously criminal name of Dillinger Corp has become a rival to the virtual reality firm Encom, originally set up in the 1980s gaming period by genius trailblazer Kevin Flynn's character, played by Jeff Bridges. This Dillinger (originally set up by Encom's executive Ed Dillinger's role, played by David Warner) is led by the founder’s annoyingly geeky grandson Julian (Evan Peters), who has a ambitious scheme to design and create lucrative items such as invincible troops and armored vehicles in the VR world and then export them into the real world using a sort of three-dimensional printer.

The problem is that no matter how intimidating, these creations disintegrate after 29 minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has uncovered the plot-driving “permanence algorithm” which can keep these things alive permanently, 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 humanoid uber-warrior which can exit the virtual realm for twenty-nine minutes at a time but which, in the traditional way of robots, is starting to exhibit symptoms of disobeying what he is commanded. Jodie Turner-Smith portrays Ares's deadpan second-in-command Athena's role and poor Bridges has a leaden legacy cameo in sage-like white garments, like a budget Jor-El on Krypton.

Acting and Roles Breakdown

Moreover, Ares – the protagonist of the title – is acted by Jared Leto with hipsterish long hair, facial hair and faintly all-knowing smile, touches that were possibly created by inputting the words “extremely annoying” into an artificial intelligence character generator. No one who recalls the 1990s television classic My So-Called Life will ever find it in their hearts to be completely harsh about Jared Leto, and I was also quite amused by his expansive (and critically misunderstood) humorous performance in Ridley Scott's movie House of Gucci. But Jared Leto is consistently, unrelentingly awful in this film, although he isn't helped by a limp plot point which is supposed to allow him to show flashes of “empathy” for Greta Lee's character and subcontract all the villainous actions to Athena's character, thus making her slightly more engaging. It is meant to be charming when Ares says how he adores 80s synth pop and that Depeche Mode are superior to Mozart.

Series Features and Overall Impact

And in keeping with the brand-identity of the series, there are motorcycles from the virtual underworld which whizz about the environment in linear paths, conforming to the angular layout of antique arcade games (or even dance clubs); a single bike even emits a lethal beam which cuts a police vehicle in half. But there is zero tension or danger or emotional engagement anywhere. This series now looks as relevant as an automobile CD system.