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The framework of futility is revisited in this tediously complex sci-fi film, more a screensaver than an real cinematic experience. This is a third installment to the classic Tron film from 1982, a film that was groundbreaking and courageously innovative for its time in a way that eludes this one and its predecessor Tron Legacy from 2010. The new Tron film almost comes to life just one time – when Evan Peters gets a smack in the face from Gillian Anderson portraying his mum, in an old-fashioned bit of analogue reality. That's a bit of firm parenting you might want to handing out to all the producers involved in this film, and it's sad to see the respected Greta Lee's role 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 unsubtly gangster-ish name of Dillinger has become a competitor to the virtual reality firm Encom, first established in the 1980s gaming period by genius trailblazer Kevin Flynn's character, portrayed by Jeff Bridges. This corporation (initially founded by Encom's 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 grand plan to develop and produce lucrative items such as invincible troops and tanks in the virtual reality grid and then transfer them into the real world using a kind of three-dimensional printer.

The problem is that however fearsome, these creations crumble into dust after 29 minutes. But Encom's current CEO Eve Kim (Greta Lee) has uncovered the plot-driving “permanence code” which can maintain these entities permanently, and even keeps it on her person on a extremely basic USB drive. So the ghastly Julian deploys his enforcer on her: Ares, the superhuman fighter which can leave the VR world for twenty-nine minutes at a time but which, in the traditional way of robots, is starting to exhibit symptoms of disobeying what he's told. Jodie Turner-Smith's performance plays Ares's deadpan second-in-command Athena's role and poor Jeff Bridges has a leaden legacy cameo in sage-like white garments, like a Poundshop Jor-El on Krypton's setting.

Character and Performance Analysis

Moreover, Ares – the protagonist of the film's name – is played by Jared Leto with trendy lengthy locks, beard and subtly omniscient grin, details that were perhaps created by typing the words “extremely annoying” into an artificial intelligence character generator. Nobody who recalls the 90s TV classic My So-Called Life will ever find it in their hearts to be completely harsh about Mr Leto, and I was also very entertained by his expansive (and critically misunderstood) humorous performance in Ridley Scott's movie House of Gucci. But Jared Leto is consistently, unrelentingly awful here, although his performance isn't aided by a limp plot point which is supposed to allow him to display glimpses of “empathy” for Eve Kim's role and delegate all the villainous actions to Athena, thus rendering her slightly more engaging. It is supposed to be charming when Ares the character says how he loves 1980s electronic music and that Depeche Mode are better than Mozart's compositions.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the franchise, there are motorbikes from the virtual underworld which whizz about the environment in long straight lines, adhering to the rectilinear design of antique arcade games (or indeed nightclubs); a single bike even emits a death ray which slices a cop car in half. But there is no drama or jeopardy or human interest throughout. This franchise currently appears as relevant as an in-car CD player.