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The framework of pointlessness is reloaded in this tediously complex sci-fi film, more a screensaver than an real cinematic experience. It's a third installment to the classic Tron film from the early 80s, a film that was mould-breaking and boldly pioneering for its time in a way that escapes this one and its forerunner Tron: Legacy from 2010. The new Tron film nearly comes to life just once – when Evan Peters' character gets a slap in the face from Gillian Anderson portraying his mum, in an traditional bit of real-world action. That's a piece of tough love you might want to handing out to every producer involved in this movie, and it's sad to see the estimable Greta Lee and Jodie Turner-Smith being made to look so uninspired.

Plot Overview of Tron: Ares

The scenario now is that an evil AI corporation with the obviously criminal name of Dillinger Corp has become a competitor to the virtual reality firm Encom, first established in the 1980s gaming period by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This corporation (initially founded by Encom's executive Ed Dillinger, acted by David Warner) is led by the founder's odiously nerdish grandson Julian (Evan Peters), who has a grand plan to develop and produce lucrative items such as indestructible soldiers and armored vehicles in the VR world and then export them into the real world using a sort of 3D printer.

The problem is that however fearsome, these things disintegrate after 29 minutes. But Encom's present chief executive Eve Kim (Greta Lee) has discovered the MacGuffin-y “permanence code” which can maintain these entities permanently, and even stores it on her person on a very low-tech flashdrive. So the dreadful Julian sets his attack dog on her: Ares, the humanoid uber-warrior 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 not doing what he's told. Jodie Turner-Smith plays Ares's deadpan second-in-command Athena and unfortunate 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 film's name – is acted by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, details that were perhaps created by typing the words “incredibly irritating” into an AI human creation programme. No one 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 incidentally quite amused by his broad (and widely misinterpreted) 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 supposed to allow him to show flashes of “empathy” for Eve Kim's role and subcontract all the badass wickedness to Athena's character, thus rendering her slightly more engaging. It is supposed to be adorable when Ares the character says how he loves 80s synth pop and that Depeche Mode band are better than Mozart's compositions.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the franchise, there are motorbikes from the VR netherworld which whizz about the environment in long straight lines, conforming to the rectilinear design of antique arcade games (or indeed nightclubs); a single bike even emits a lethal beam which slices a cop car in half. But there is zero tension or danger or human interest throughout. This franchise currently appears about as urgently contemporary as an automobile CD system.