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The framework of pointlessness is reloaded in this mind-bendingly dull sci-fi movie, more a screensaver than an actual film. This is a threequel to the original movie Tron from the early 80s, a movie that was mould-breaking and boldly pioneering for its time in a way that escapes this one and its forerunner Tron Legacy from 2010. The new Tron film almost comes to life just once – when Evan Peters gets a slap in the face from Gillian Anderson portraying his mum, in an traditional bit of analogue reality. This is a bit of firm parenting you might want to handing out to all the producers engaged in this movie, and it's unfortunate to see the estimable 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 rival to the virtual reality firm Encom, originally set up in the 1980s gaming period by genius trailblazer Kevin Flynn's character, played by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger, 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 tanks in the virtual reality grid and then transfer them into the real world using a kind of 3D printer.

The issue is that no matter how intimidating, these creations crumble into dust after twenty-nine 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 Dillinger sets his attack dog on her: Ares, the humanoid uber-warrior which can leave the VR world for 29 minutes at a time but which, in the traditional way of androids, is starting to exhibit symptoms of not doing what he's told. Jodie Turner-Smith's performance portrays Ares's stoic deputy Athena and unfortunate Bridges has a leaden legacy cameo in sage-like white garments, like a budget 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 hipsterish long hair, beard and subtly omniscient grin, details that were possibly created by typing the words “extremely annoying” into an AI human creation programme. No one who recalls the 1990s television classic My So-Called Life series will always find it in their hearts to be completely harsh about Mr Leto, and I was also very entertained by his expansive (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Leto is unremittingly, persistently terrible in this film, although his performance isn't aided by a limp plot point which is supposed to allow him to display glimpses of “empathy” for Eve Kim's role and subcontract all the badass wickedness to Athena's character, thus making her slightly more engaging. It is supposed to be charming when Ares says how he adores 80s synth pop and that Depeche Mode are better than Mozart.

Franchise Elements and Overall Impact

And in keeping with the brand-identity of the franchise, there are motorbikes from the VR netherworld which speed around the environment in long straight lines, conforming to the rectilinear design of classic video games (or indeed nightclubs); one even emits a death ray which cuts a police vehicle in two. But there is zero tension or jeopardy or emotional engagement throughout. This franchise currently appears about as urgently contemporary as an in-car CD player.