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The matrix of futility is reloaded in this tediously complex sci-fi film, closer to a screensaver than an real cinematic experience. It's a third installment to the original movie Tron from 1982, a movie that was groundbreaking and boldly pioneering for its time in a way that escapes this one and its forerunner Tron Legacy from 2010. The new Tron film nearly awakens just once – when Evan Peters gets a slap in the face from Gillian Anderson playing his mum, in an traditional bit of analogue reality. That's a piece of tough love you might want to handing out to all the producers engaged in this film, and it's unfortunate to see the estimable Greta Lee's role and Jodie Turner-Smith being made to look so lifeless.

Story Summary of The New Tron Film

The scenario currently 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, originally set up in the 80s arcade-game era by brilliant innovator Kevin Flynn's character, portrayed by Jeff Bridges. This Dillinger (initially founded by Encom's executive Ed Dillinger's role, played by David Warner) is headed by the founder’s annoyingly geeky grandson Julian (Evan Peters), who has a ambitious scheme to develop and produce lucrative items such as indestructible soldiers and armored vehicles in the virtual reality grid and then transfer them into the real world using a kind of 3D printer.

The issue is that however fearsome, these creations disintegrate after twenty-nine minutes. But Encom's present chief executive Eve Kim (Greta Lee) has discovered the plot-driving “permanence code” which can maintain these entities permanently, and even stores it on her person on a very low-tech USB drive. So the dreadful Julian Dillinger sets his attack dog on her: Ares, the superhuman fighter which can leave the VR world for 29 minutes at a time but which, in the time-honoured way of androids, is beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith portrays Ares's deadpan second-in-command Athena's role and unfortunate Bridges has a wooden legacy appearance in wise white robes, like a budget Jor-El on Krypton.

Acting and Roles Analysis

Moreover, Ares – the protagonist of the film's name – is acted by Jared Leto with hipsterish long hair, facial hair and faintly all-knowing smile, details that were possibly created by typing the words “incredibly irritating” into an artificial intelligence character generator. Nobody who remembers the 1990s television classic My So-Called Life will always find it in their hearts to be totally rude about Jared Leto, and I was also quite amused by his broad (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Leto is consistently, persistently terrible here, although he isn't helped by a limp plot point which is intended to allow him to display glimpses of “empathy” for Eve Kim's role and subcontract all the badass wickedness to Athena, thus making her slightly more engaging. It is meant to be charming when Ares says how he loves 80s synth pop and that Depeche Mode are better than Mozart.

Franchise Elements and Overall Impact

Consistent with the franchise identity of the franchise, there are motorbikes from the VR netherworld which whizz about the place in linear paths, adhering to the angular layout of antique arcade games (or indeed dance clubs); one even shoots out a lethal beam which cuts a cop car in two. But there is no drama or danger or emotional engagement throughout. This series currently appears about as urgently contemporary as an in-car CD player.