🔗 Share this article

The matrix of futility is revisited in this tediously complex science fiction film, more a screensaver than an actual film. It's a threequel to the original movie Tron from the early 80s, a film that was mould-breaking and boldly pioneering for its time in a way that eludes this one and its forerunner Tron: Legacy from the previous decade. Tron: Ares nearly comes to life just once – when Evan Peters gets a slap in the face from Gillian Anderson playing his mother, in an traditional bit of analogue reality. 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 respected Greta Lee's role and Jodie Turner-Smith's character being made to look so lifeless.

Plot Overview of Tron: Ares

The situation currently is that an malicious artificial intelligence company with the unsubtly gangster-ish name of Dillinger has become a rival to the virtual reality firm Encom Inc, first established in the 1980s gaming period by brilliant innovator Kevin Flynn's character, played by Jeff Bridges. This Dillinger (initially founded by Encom's executive Ed Dillinger, played by David Warner) is led by the founder's annoyingly geeky grandson Julian (Evan Peters), who has a ambitious scheme to develop and produce profitable things such as invincible troops and armored vehicles in the VR world and then transfer them into the real world using a kind of 3D printer.

The problem is that no matter how intimidating, these things disintegrate 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 for ever, and even stores it on her person on a very low-tech flashdrive. So the dreadful 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 androids, is starting to exhibit symptoms of disobeying what he is commanded. Jodie Turner-Smith plays Ares's stoic deputy Athena's role and unfortunate Bridges has a leaden legacy cameo in sage-like white garments, like a Poundshop Jor-El on Krypton's setting.

Acting and Roles Analysis

And Ares himself – the protagonist of the film's name – is played by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, details that were possibly created by typing the words “extremely annoying” into an artificial intelligence character generator. No one who recalls the 90s TV classic My So-Called Life will ever find it in their hearts to be completely harsh about Jared Leto, and I was also quite amused by his broad (and critically misunderstood) comic turn in Ridley Scott's movie House of Gucci. But Leto is unremittingly, persistently awful in this film, although he isn't helped by a weak storyline which is supposed to allow him to display glimpses of “compassion” for Eve Kim's role and subcontract all the badass wickedness to Athena, 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 band are better than Mozart's compositions.

Series Features and Final Impression

Consistent with the brand-identity of the franchise, there are motorbikes from the virtual underworld which speed around the place in linear paths, conforming to the angular layout of antique arcade games (or indeed dance clubs); one even shoots out a lethal beam which slices a police vehicle in two. But there is zero tension or jeopardy or emotional engagement throughout. This franchise now looks as relevant as an in-car CD player.