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The matrix of pointlessness is reloaded in this mind-bendingly dull science fiction film, closer to a screensaver than an actual film. It's a third installment to the classic Tron film from the early 80s, a movie that was mould-breaking and boldly pioneering for its time in a way that eludes this film and its predecessor Tron: Legacy from 2010. Tron: Ares nearly comes to life just once – 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. This is a bit of firm parenting you might want to administering to all the producers involved in this film, and it's unfortunate to see the respected Greta Lee's role and Jodie Turner-Smith being made to look so uninspired.

Plot Overview of Tron: Ares

The scenario currently is that an malicious artificial intelligence company with the obviously criminal name of Dillinger Corp has become a rival to the VR company Encom Inc, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger's role, acted by David Warner) is led by the founder’s annoyingly geeky grandson's character Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce profitable things such as indestructible soldiers and armored vehicles in the VR world and then transfer them into actual reality using a sort of three-dimensional printer.

The issue is that no matter how intimidating, these things disintegrate 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 for ever, and even keeps it on her person on a very low-tech USB drive. So the dreadful Julian sets his attack dog on her: Ares the warrior, the superhuman fighter which can leave the VR world for twenty-nine minutes at a time but which, in the time-honoured way of androids, is starting to exhibit symptoms of not doing what he's told. Jodie Turner-Smith's performance plays Ares's deadpan second-in-command Athena's role and poor Bridges has a wooden legacy appearance in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Character and Performance Breakdown

And Ares himself – the protagonist of the title – is acted by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, touches that were perhaps created by typing the words “extremely annoying” into an AI human creation programme. Nobody who remembers the 90s TV classic My So-Called Life series will always find it in their hearts to be completely harsh 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 his performance isn't aided by a limp plot point which is supposed to allow him to show flashes of “empathy” for Eve Kim's role and delegate all the villainous actions to Athena's character, thus making her slightly more engaging. It is meant to be adorable when Ares says how he loves 80s synth pop and that Depeche Mode are superior to Mozart.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the series, there are motorbikes from the virtual underworld which whizz about the place in long straight lines, adhering to the angular layout of classic video games (or even nightclubs); a single bike even emits a lethal beam which cuts a police vehicle in two. But there is no drama or jeopardy or human interest throughout. This franchise now looks as relevant as an in-car CD player.