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The matrix of pointlessness is revisited in this tediously complex science fiction movie, closer to a screensaver than an real cinematic experience. This is a threequel to the original movie Tron from the early 80s, a movie that was mould-breaking and courageously innovative for its time in a way that escapes this one and its forerunner Tron: Legacy from 2010. The new Tron film nearly awakens just one time – when Evan Peters' character gets a slap in the face from Gillian Anderson's character playing his mum, in an old-fashioned bit of analogue reality. That's a bit of firm parenting you might feel like handing out to every producer engaged in this film, and it's unfortunate to see the respected Greta Lee 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 unsubtly gangster-ish name of Dillinger Corp has become a competitor to the virtual reality firm Encom Inc, first established in the 1980s gaming period by genius trailblazer Kevin Flynn, played by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger's role, played by David Warner) is led by the founder’s annoyingly geeky grandson's character Julian (Evan Peters), who has a ambitious scheme to design and create lucrative items such as indestructible soldiers and armored vehicles in the VR world and then transfer them into the real world using a sort of three-dimensional printer.

The issue is that however fearsome, these creations disintegrate after twenty-nine minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has discovered the MacGuffin-y “permanence code” which can keep these things alive permanently, and even keeps it on her person on a very low-tech USB drive. So the ghastly Julian sets his attack dog on her: Ares, the humanoid uber-warrior 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 not doing what he is commanded. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena's role and unfortunate Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton.

Acting and Roles Analysis

Moreover, Ares – the protagonist of the film's name – is acted by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, touches that were possibly created by typing the words “extremely annoying” into an AI human creation programme. No one who remembers the 90s TV classic My So-Called Life series will ever find it in their hearts to be totally rude about Jared Leto, and I was incidentally very entertained by his expansive (and critically misunderstood) comic turn in Ridley Scott's movie House of Gucci. But Leto is unremittingly, persistently awful in this film, although his performance isn't aided by a limp plot point which is supposed to allow him to display glimpses of “compassion” for Greta Lee's character and delegate all the villainous actions to Athena's character, 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 superior to Mozart.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the franchise, there are motorbikes from the virtual underworld which whizz about the environment in linear paths, adhering to the rectilinear design of classic video games (or even nightclubs); one even shoots out a death ray which cuts a police vehicle in two. But there is no drama or danger or human interest throughout. This franchise currently appears about as urgently contemporary as an in-car CD player.