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The framework of futility is revisited in this mind-bendingly dull sci-fi film, more 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 day in a way that escapes this one and its forerunner Tron: Legacy from the previous decade. The new Tron film almost comes to life just one time – when Evan Peters gets a slap in the face from Gillian Anderson's character playing his mum, in an old-fashioned bit of real-world action. That's a piece of tough love you might feel like administering to every producer involved in this film, and it's sad to see the respected Greta Lee and Jodie Turner-Smith's character being made to look so uninspired.

Story Summary of The New Tron Film

The scenario now is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger Corp has become a competitor to the virtual reality firm Encom, first established in the 1980s gaming period by genius trailblazer Kevin Flynn, played by Jeff Bridges. This corporation (initially founded by Encom's executive Ed Dillinger, played by David Warner) is led 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 indestructible soldiers and tanks in the virtual reality grid and then export them into the real world using a sort of 3D printer.

The issue is that however fearsome, these things crumble into dust after twenty-nine 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 for ever, and even keeps it on her person on a extremely basic USB drive. So the ghastly Julian Dillinger deploys his enforcer 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 robots, 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 and poor Jeff Bridges has a leaden legacy cameo in sage-like white garments, like a Poundshop Jor-El on Krypton.

Acting and Roles Breakdown

Moreover, Ares – the protagonist of the title – is played by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, details that were possibly created by inputting the words “extremely annoying” into an AI human creation programme. Nobody who remembers the 90s TV classic My So-Called Life will always find it in their hearts to be completely harsh about Mr Leto, and I was also quite amused by his expansive (and widely misinterpreted) humorous performance in Ridley Scott's movie House of Gucci. But Jared Leto is consistently, persistently awful here, 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 villainous actions to Athena's character, thus making her marginally more interesting. It is supposed to be charming when Ares the character says how he loves 80s synth pop and that Depeche Mode band are superior to Mozart.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the franchise, there are motorcycles from the virtual underworld which speed around the place in long straight lines, conforming to the angular layout of antique arcade games (or indeed nightclubs); one even shoots out a lethal beam which slices a cop car in half. But there is no drama or jeopardy or emotional engagement throughout. This franchise now looks as relevant as an automobile CD system.