🔗 Share this article

The matrix of futility is revisited in this mind-bendingly dull science fiction film, more a screensaver than an real cinematic experience. It's a third installment 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 predecessor Tron Legacy from 2010. Tron: Ares almost awakens just one time – when Evan Peters' character gets a smack in the face from Gillian Anderson portraying his mum, in an old-fashioned bit of real-world action. This is a bit of firm parenting you might want to handing out to every producer involved in this film, and it's unfortunate to see the estimable Greta Lee and Jodie Turner-Smith's character being made to look so lifeless.

Story Summary of Tron: Ares

The scenario now is that an malicious artificial intelligence company with the obviously criminal name of Dillinger has become a competitor to the VR company Encom Inc, first established in the 80s arcade-game era by brilliant innovator Kevin Flynn, played by Jeff Bridges. This corporation (originally set up by Encom's executive Ed Dillinger's role, played by David Warner) is headed by the founder's odiously nerdish 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 virtual reality grid and then transfer them into actual reality using a sort of 3D printer.

The problem is that no matter how intimidating, these creations disintegrate after 29 minutes. But Encom's present chief executive Eve Kim (Greta Lee) has discovered the plot-driving “permanence algorithm” which can maintain these entities for ever, and even stores it on her person on a very low-tech USB drive. So the dreadful Julian Dillinger 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 robots, is starting to exhibit symptoms of not doing what he's told. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena's role and unfortunate Bridges has a leaden legacy cameo in sage-like white garments, like a budget Jor-El on Krypton.

Acting and Roles Analysis

And Ares himself – the protagonist of the title – is acted by Jared Leto with hipsterish long hair, facial hair and subtly omniscient grin, details that were perhaps created by typing the words “incredibly irritating” into an artificial intelligence character generator. 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 very entertained by his broad (and critically misunderstood) humorous performance in Ridley Scott's film House of Gucci. But Leto is unremittingly, persistently terrible in this film, although his performance isn't aided by a limp plot point which is intended to allow him to display glimpses of “compassion” for Greta Lee's character and delegate all the badass wickedness to Athena, thus rendering her slightly more engaging. It is supposed to be adorable when Ares says how he adores 80s synth pop and that Depeche Mode band are superior to Mozart's compositions.

Series Features and Overall Impact

And in keeping with the brand-identity of the franchise, there are motorbikes from the VR netherworld which speed around the environment in long straight lines, adhering to the angular layout of antique arcade games (or even dance clubs); a single bike even shoots out a lethal beam which cuts a police vehicle in two. But there is zero tension or jeopardy or emotional engagement throughout. This series now looks about as urgently contemporary as an automobile CD system.