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The framework of pointlessness is revisited in this tediously complex science fiction film, more a screensaver than an actual film. It's a third installment to the classic Tron film from 1982, a film that was mould-breaking and courageously innovative for its time in a way that escapes this film and its forerunner Tron Legacy from the previous decade. The new Tron film almost comes to life just one time – when Evan Peters gets a smack in the face from Gillian Anderson's character portraying his mother, in an traditional bit of real-world action. This is a piece of tough love you might want to handing out to every producer involved in this movie, and it's unfortunate to see the estimable Greta Lee and Jodie Turner-Smith's character being made to look so lifeless.

Plot Overview of The New Tron Film

The situation now is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger has become a competitor to the virtual reality firm Encom Inc, first established in the 1980s gaming period by genius trailblazer Kevin Flynn's character, portrayed by Jeff Bridges. This Dillinger (initially founded by Encom's executive Ed Dillinger, acted by David Warner) is headed by the founder’s annoyingly geeky grandson's character Julian (Evan Peters), who has a grand plan to develop and produce lucrative items such as invincible troops and armored vehicles in the VR world and then export them into actual reality using a kind of three-dimensional printer.

The problem is that no matter how intimidating, these creations crumble into dust after twenty-nine minutes. But Encom's current CEO Eve Kim (Greta Lee) has discovered the MacGuffin-y “permanence code” which can maintain these entities for ever, and even keeps it on her person on a very low-tech flashdrive. So the ghastly Julian Dillinger sets his attack dog on her: Ares the warrior, the humanoid uber-warrior 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 not doing what he is commanded. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena and poor Jeff Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Acting and Roles Breakdown

Moreover, Ares – the hero of the film's name – is acted by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, touches that were perhaps designed by inputting the words “extremely annoying” into an AI human creation programme. No one who recalls the 90s TV classic My So-Called Life will ever find it in their hearts to be totally rude about Jared Leto, and I was also quite amused by his broad (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is consistently, persistently terrible here, although his performance isn't aided by a limp plot point which is intended to allow him to show flashes of “compassion” for Greta Lee's character and subcontract all the villainous actions to Athena, thus rendering her slightly more engaging. It is supposed to be adorable when Ares says how he loves 80s synth pop and that Depeche Mode are superior to Mozart.

Series Features and Overall Impact

Consistent with the brand-identity of the series, there are motorcycles from the virtual underworld which speed around the place in long straight lines, adhering to the rectilinear design 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 zero tension or danger or emotional engagement anywhere. This franchise currently appears about as urgently contemporary as an in-car CD player.