🔗 Share this article

The framework of pointlessness is reloaded in this tediously complex science fiction movie, closer to a screensaver than an real cinematic experience. It's a third installment to the classic Tron film from 1982, a movie that was mould-breaking and courageously innovative for its day in a way that eludes this one and its forerunner Tron Legacy from 2010. Tron: Ares nearly awakens just one time – when Evan Peters gets a slap in the face from Gillian Anderson portraying his mother, in an old-fashioned bit of analogue reality. This is a bit of firm parenting you might feel like administering to all the producers engaged in this film, and it's sad to see the estimable Greta Lee and Jodie Turner-Smith's character being made to look so lifeless.

Story Summary of Tron: Ares

The scenario now is that an malicious artificial intelligence company with the obviously criminal name of Dillinger has become a competitor to the VR company Encom, first established in the 80s arcade-game era by brilliant innovator Kevin Flynn, played by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger's role, acted by David Warner) is headed by the founder’s odiously nerdish grandson's character Julian Dillinger (Evan Peters), who has a grand plan to design and create lucrative items such as indestructible soldiers and tanks in the VR world and then transfer them into actual reality using a sort of 3D printer.

The issue is that however fearsome, these things disintegrate after twenty-nine minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has discovered the plot-driving “permanence algorithm” which can keep these things alive for ever, and even stores it on her person on a extremely basic USB drive. So the dreadful Julian Dillinger sets his attack dog on her: Ares the warrior, 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 starting to exhibit symptoms of not doing what he is commanded. Jodie Turner-Smith portrays Ares's deadpan second-in-command Athena's role and poor Bridges has a wooden legacy appearance in sage-like white garments, like a Poundshop Jor-El on Krypton's setting.

Acting and Roles Analysis

Moreover, Ares – the hero of the film's name – is acted by Jared Leto with trendy lengthy locks, beard and faintly all-knowing smile, touches that were possibly designed by typing the words “incredibly irritating” into an artificial intelligence character generator. Nobody who recalls 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 incidentally very entertained by his expansive (and widely misinterpreted) humorous performance in Ridley Scott's movie House of Gucci. But Jared Leto is unremittingly, persistently terrible here, although he isn't helped by a limp plot point which is intended to allow him to show flashes of “compassion” for Eve Kim's role and subcontract all the badass wickedness to Athena's character, thus rendering her marginally more interesting. It is meant to be adorable when Ares says how he adores 80s synth pop and that Depeche Mode band are superior to Mozart's compositions.

Franchise Elements and Overall Impact

Consistent with the franchise identity of the franchise, there are motorcycles from the virtual underworld which whizz about the environment in linear paths, conforming to the angular layout of antique arcade games (or even dance clubs); a single bike even emits a death ray which slices a cop car in two. But there is no drama or jeopardy or human interest anywhere. This series currently appears as relevant as an in-car CD player.