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The matrix of futility is reloaded in this mind-bendingly dull science fiction film, closer to a screensaver than an actual film. It's a third installment to the original movie Tron from 1982, a movie that was groundbreaking and courageously innovative for its time in a way that escapes this one and its predecessor Tron Legacy from 2010. The new Tron film almost comes to life just one time – when Evan Peters' character gets a smack in the face from Gillian Anderson playing his mum, in an old-fashioned bit of analogue reality. This is a piece of tough love you might feel like handing out to every producer involved 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.

Plot Overview of Tron: Ares

The scenario now is that an malicious artificial intelligence company with the unsubtly gangster-ish name of Dillinger has become a rival to the virtual reality firm Encom, 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's executive Ed Dillinger's role, acted by David Warner) is headed by the founder's odiously nerdish grandson Julian (Evan Peters), who has a grand plan to develop and produce profitable things such as invincible troops and tanks in the VR world and then transfer them into the real world using a sort of 3D printer.

The problem is that no matter how intimidating, these things disintegrate after twenty-nine minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has uncovered the plot-driving “permanence algorithm” which can keep these things alive for ever, 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 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 beginning to show signs of disobeying what he's told. Jodie Turner-Smith plays Ares's stoic deputy Athena's role and poor Bridges has a leaden legacy cameo in sage-like white garments, like a budget Jor-El on Krypton's setting.

Character and Performance Analysis

Moreover, Ares – the protagonist of the title – is played by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, touches that were possibly created by inputting the words “incredibly irritating” into an AI human creation programme. Nobody who remembers the 1990s television classic My So-Called Life will ever find it in their hearts to be totally rude about Mr Leto, and I was also quite amused by his broad (and critically misunderstood) comic turn in Ridley Scott's movie House of Gucci. But Leto is unremittingly, persistently terrible in this film, although his performance isn't aided by a weak storyline 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 band are superior to Mozart.

Franchise Elements and Final Impression

And in keeping with the brand-identity of the series, there are motorbikes from the VR netherworld which whizz about the environment in linear paths, adhering to the rectilinear design of antique arcade games (or even nightclubs); a single bike even emits a death ray which cuts a cop car in two. But there is zero tension or danger or emotional engagement throughout. This franchise now looks as relevant as an in-car CD player.