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The matrix of pointlessness is revisited in this mind-bendingly dull sci-fi film, closer to a screensaver than an real cinematic experience. It's a threequel to the classic Tron film from 1982, a movie that was mould-breaking and courageously innovative for its time in a way that eludes this one and its forerunner Tron Legacy from the previous decade. Tron: Ares nearly comes to life just once – when Evan Peters' character gets a slap in the face from Gillian Anderson portraying his mother, in an traditional bit of real-world action. This is a bit of firm parenting you might feel like administering to every producer involved in this film, and it's sad to see the estimable Greta Lee's role and Jodie Turner-Smith being made to look so uninspired.

Story Summary of Tron: Ares

The situation currently is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger Corp has become a rival to the VR company Encom Inc, first established in the 1980s gaming period by brilliant innovator Kevin Flynn's character, portrayed by Jeff Bridges. This Dillinger (originally set up by Encom's executive Ed Dillinger, acted by David Warner) is led by the founder’s odiously nerdish grandson's character Julian Dillinger (Evan Peters), who has a ambitious scheme to develop and produce lucrative items such as invincible troops and armored vehicles in the VR world and then transfer them into the real world using a kind of three-dimensional printer.

The issue is that however fearsome, these creations crumble into dust after 29 minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has uncovered the plot-driving “permanence code” which can maintain these entities for ever, and even keeps it on her person on a extremely basic flashdrive. So the ghastly Julian Dillinger sets his attack dog on her: Ares the warrior, 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 beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith portrays Ares's stoic deputy Athena's role and poor Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton's setting.

Character and Performance Analysis

Moreover, Ares – the protagonist of the title – is played by Jared Leto with hipsterish long hair, facial hair and subtly omniscient grin, details that were perhaps designed by typing the words “extremely annoying” into an AI human creation programme. Nobody who recalls the 90s TV classic My So-Called Life series will ever find it in their hearts to be totally rude about Mr Leto, and I was also very entertained by his expansive (and widely misinterpreted) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is unremittingly, persistently terrible here, although he isn't helped by a weak storyline which is intended to allow him to display glimpses of “empathy” for Eve Kim's role and delegate all the villainous actions to Athena's character, thus rendering her marginally more interesting. It is supposed to be charming when Ares the character says how he adores 80s synth pop and that Depeche Mode band are better than Mozart's compositions.

Series Features and Overall Impact

Consistent with the brand-identity of the series, there are motorcycles from the virtual underworld which whizz about the environment in linear paths, adhering to the angular layout of antique arcade games (or indeed dance clubs); one even shoots out a death ray which cuts a police vehicle in two. But there is no drama or jeopardy or emotional engagement anywhere. This series now looks about as urgently contemporary as an in-car CD player.