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The framework of futility is reloaded in this tediously complex sci-fi film, closer to a screensaver than an real cinematic experience. It's a third installment to the classic Tron film from 1982, a film that was groundbreaking and boldly pioneering for its day in a way that escapes this one and its predecessor Tron: Legacy from 2010. The new Tron film nearly awakens just one time – when Evan Peters gets a smack in the face from Gillian Anderson's character playing his mother, in an traditional bit of real-world action. That's a piece of tough love you might want to handing out to all the producers involved in this film, and it's unfortunate to see the respected Greta Lee and Jodie Turner-Smith being made to look so lifeless.

Plot Overview of The New Tron Film

The scenario 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 1980s gaming period by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This Dillinger (initially founded by Encom's executive Ed Dillinger, acted by David Warner) is headed by the founder’s odiously nerdish grandson's character Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce profitable things such as indestructible soldiers and tanks in the virtual reality grid and then export them into the real world using a kind of three-dimensional printer.

The issue is that no matter how intimidating, these things crumble into dust after 29 minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has uncovered the plot-driving “permanence code” which can keep these things alive permanently, and even stores it on her person on a very low-tech flashdrive. So the ghastly Julian Dillinger sets his attack dog on her: Ares, 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 starting to exhibit symptoms of not doing 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 wooden legacy appearance in sage-like white garments, like a Poundshop Jor-El on Krypton's setting.

Character and Performance Breakdown

Moreover, Ares – the protagonist of the film's name – is played by Jared Leto with trendy lengthy locks, beard and subtly omniscient grin, touches that were possibly designed by typing the words “extremely annoying” into an artificial intelligence character generator. No one who remembers 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 incidentally very entertained by his broad (and widely misinterpreted) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is unremittingly, unrelentingly awful in this film, although his performance isn't aided 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 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 80s synth pop and that Depeche Mode band are superior to Mozart's compositions.

Series Features and Final Impression

Consistent with the franchise identity of the series, there are motorcycles from the VR netherworld which speed around the place in linear paths, adhering to the rectilinear design of classic video games (or even dance clubs); one even shoots out a lethal beam which cuts a police vehicle in two. But there is zero tension or jeopardy or human interest throughout. This series now looks as relevant as an in-car CD player.