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The framework of futility is reloaded in this mind-bendingly dull science fiction movie, more a screensaver than an actual film. It's a threequel to the classic Tron film from 1982, a movie that was groundbreaking and boldly pioneering for its day in a way that escapes this one and its predecessor Tron: Legacy from the previous decade. The new Tron film almost comes to life just one time – when Evan Peters' character gets a smack in the face from Gillian Anderson's character portraying his mother, in an old-fashioned bit of real-world action. This is a bit of firm parenting you might feel like handing out to every producer involved in this movie, and it's unfortunate to see the respected Greta Lee and Jodie Turner-Smith's character being made to look so uninspired.

Plot Overview of Tron: Ares

The scenario currently is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger Corp has become a rival to the VR company Encom, first established in the 1980s gaming period by genius trailblazer 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 odiously nerdish grandson Julian (Evan Peters), who has a ambitious scheme to develop and produce profitable things such as invincible troops and armored vehicles in the virtual reality grid and then transfer them into the real world using a sort of 3D printer.

The issue is that no matter how intimidating, these creations crumble into dust after 29 minutes. But Encom's present chief executive Eve Kim (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 deploys his enforcer on her: Ares, the superhuman fighter which can exit the virtual realm for 29 minutes at a time but which, in the traditional way of robots, is starting to exhibit symptoms of not doing what he's told. Jodie Turner-Smith plays Ares's stoic deputy Athena and poor Bridges has a leaden legacy cameo in wise white robes, like a budget Jor-El on Krypton.

Acting and Roles Breakdown

And Ares himself – the protagonist of the title – is played by Jared Leto with hipsterish long hair, 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 1990s television classic My So-Called Life series will ever find it in their hearts to be totally rude about Mr Leto, and I was also very entertained by his expansive (and widely misinterpreted) comic turn in Ridley Scott's movie House of Gucci. But Leto is consistently, unrelentingly terrible here, although he isn't helped by a limp plot point which is intended to allow him to display glimpses of “compassion” for Eve Kim's role and delegate all the badass wickedness to Athena, thus making her marginally more interesting. It is meant to be charming when Ares says how he loves 80s synth pop and that Depeche Mode band are superior to Mozart's compositions.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the series, there are motorcycles from the VR netherworld which whizz about the place in long straight lines, conforming to the rectilinear design of antique arcade games (or indeed nightclubs); one even emits a lethal beam which slices a police vehicle in two. But there is zero tension or jeopardy or human interest anywhere. This franchise now looks about as urgently contemporary as an in-car CD player.