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The matrix of pointlessness is reloaded in this tediously complex sci-fi film, more a screensaver than an real cinematic experience. This is a threequel to the original movie Tron from the early 80s, a film that was mould-breaking and boldly pioneering for its day in a way that eludes this film and its forerunner Tron Legacy from 2010. Tron: Ares almost awakens just one time – when Evan Peters' character gets a smack in the face from Gillian Anderson's character portraying his mum, in an traditional bit of real-world action. This is a piece of tough love you might want to administering to every producer engaged in this movie, and it's unfortunate to see the estimable Greta Lee's role and Jodie Turner-Smith's character being made to look so uninspired.

Plot Overview of Tron: Ares

The scenario 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 Inc, first established in the 80s arcade-game era by brilliant innovator Kevin Flynn, portrayed by Jeff Bridges. This corporation (originally set up by Encom's executive Ed Dillinger's role, played by David Warner) is headed by the founder's odiously nerdish grandson's character Julian Dillinger (Evan Peters), who has a grand plan to design and create profitable things such as invincible troops and tanks in the VR world and then transfer them into actual reality using a sort of three-dimensional printer.

The issue is that however fearsome, these things disintegrate after twenty-nine minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has uncovered the plot-driving “permanence algorithm” which can maintain these entities permanently, and even keeps 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 leave the VR world for twenty-nine minutes at a time but which, in the time-honoured way of androids, is beginning to show signs of disobeying what he's told. Jodie Turner-Smith's performance plays Ares's deadpan second-in-command Athena and unfortunate Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Character and Performance Breakdown

Moreover, Ares – the hero of the title – is played by Jared Leto with hipsterish long hair, beard and subtly omniscient grin, details that were possibly created by typing the words “incredibly irritating” into an AI human creation programme. Nobody who recalls 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 also very entertained by his broad (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is unremittingly, unrelentingly awful here, 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 badass wickedness to Athena's character, thus rendering her slightly more engaging. It is supposed to be charming when Ares the character says how he adores 1980s electronic music and that Depeche Mode are better than Mozart.

Series Features and Overall Impact

Consistent with the franchise identity of the series, there are motorcycles from the VR netherworld which whizz about the environment in linear paths, adhering to the angular layout of classic video games (or even dance clubs); a single bike even emits a lethal beam which cuts a cop car in two. But there is zero tension or danger or emotional engagement throughout. This series now looks about as urgently contemporary as an in-car CD player.