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The matrix 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 groundbreaking and boldly pioneering for its day in a way that eludes this one and its predecessor Tron: Legacy from the previous decade. The new Tron film almost awakens just once – when Evan Peters gets a slap in the face from Gillian Anderson's character playing his mum, in an traditional 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's role and Jodie Turner-Smith being made to look so lifeless.

Story Summary of The New Tron Film

The situation currently is that an evil AI corporation with the obviously criminal name of Dillinger has become a competitor to the virtual reality firm Encom Inc, originally set up in the 1980s gaming period by brilliant innovator Kevin Flynn's character, portrayed by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger, acted by David Warner) is headed by the founder’s annoyingly geeky grandson Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce profitable things such as invincible troops and tanks in the virtual reality grid and then transfer them into actual reality using a sort of three-dimensional printer.

The problem is that no matter how intimidating, these creations crumble into dust after twenty-nine minutes. But Encom's present chief executive Eve Kim's character (Greta Lee) has uncovered the plot-driving “permanence algorithm” which can maintain these entities for ever, and even keeps it on her person on a very low-tech USB drive. So the dreadful Julian sets his attack dog on her: Ares, the superhuman fighter which can exit the virtual realm for twenty-nine 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's performance portrays Ares's stoic deputy Athena's role and unfortunate Jeff Bridges has a wooden legacy appearance in sage-like white garments, like a budget Jor-El on Krypton.

Acting and Roles Breakdown

Moreover, Ares – the hero of the title – is acted by Jared Leto with hipsterish long hair, facial hair and faintly all-knowing smile, touches that were perhaps designed by inputting the words “extremely annoying” into an artificial intelligence character generator. No one who recalls the 90s TV classic My So-Called Life will always find it in their hearts to be completely harsh about Jared Leto, and I was also quite amused by his expansive (and critically misunderstood) comic turn in Ridley Scott's film House of Gucci. But Leto is consistently, persistently awful in this film, although his performance isn't aided by a limp plot point which is intended to allow him to show flashes of “empathy” for Greta Lee's character and subcontract all the badass wickedness to Athena's character, thus making her marginally more interesting. It is meant to be charming when Ares the character says how he loves 1980s electronic music and that Depeche Mode band are superior to Mozart's compositions.

Franchise Elements and Final Impression

Consistent with the franchise identity of the series, there are motorbikes from the VR netherworld which whizz about the place in long straight lines, adhering to the angular layout of antique arcade games (or indeed dance clubs); a single bike even shoots out a lethal beam which cuts a cop car in half. But there is no drama or jeopardy or human interest anywhere. This franchise currently appears as relevant as an in-car CD player.