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The matrix of futility is revisited in this mind-bendingly dull science fiction film, 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 groundbreaking and courageously innovative for its day in a way that escapes this film and its predecessor Tron: Legacy from the previous decade. The new Tron film nearly comes to life just one time – when Evan Peters gets a slap in the face from Gillian Anderson's character portraying his mum, in an traditional bit of real-world action. That's a bit of firm parenting you might want to handing out to all the producers engaged in this film, and it's sad to see the respected Greta Lee and Jodie Turner-Smith being made to look so uninspired.

Plot Overview of The New Tron Film

The scenario currently is that an evil AI corporation with the obviously criminal name of Dillinger has become a competitor to the VR company Encom Inc, first established in the 1980s gaming period by brilliant innovator Kevin Flynn's character, played by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger, acted by David Warner) is led by the founder's annoyingly geeky grandson's character Julian (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 the real world using a kind of 3D printer.

The problem is that no matter how intimidating, these things 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 extremely basic flashdrive. So the ghastly Julian Dillinger deploys his enforcer on her: Ares, the humanoid uber-warrior which can leave the VR world for twenty-nine 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 portrays Ares's stoic deputy Athena and poor Bridges has a wooden legacy appearance in sage-like white garments, like a Poundshop Jor-El on Krypton.

Acting and Roles Analysis

Moreover, Ares – the protagonist of the film's name – is played by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, touches that were possibly created by inputting the words “extremely annoying” into an AI human creation programme. Nobody who recalls the 90s TV classic My So-Called Life series will always find it in their hearts to be completely harsh about Mr Leto, and I was also quite amused by his expansive (and critically misunderstood) humorous performance in Ridley Scott's movie House of Gucci. But Jared Leto is unremittingly, unrelentingly terrible in this film, although he isn't helped by a limp plot point which is intended to allow him to display glimpses of “empathy” for Eve Kim's role and subcontract all the villainous actions to Athena, thus rendering her marginally more interesting. It is meant to be charming when Ares says how he adores 80s synth pop and that Depeche Mode band are superior to Mozart.

Franchise Elements and Overall Impact

And in keeping with the franchise identity of the franchise, there are motorcycles from the virtual underworld which whizz about the place in linear paths, adhering to the angular layout of antique arcade games (or indeed nightclubs); one even shoots out a lethal beam which cuts a police vehicle in half. But there is zero tension or jeopardy or emotional engagement throughout. This series now looks as relevant as an in-car CD player.