The matrix of pointlessness is reloaded in this tediously complex science fiction film, more a screensaver than an actual film. This is a threequel to the original movie Tron from 1982, a film that was mould-breaking and courageously innovative for its time in a way that escapes this film and its predecessor Tron Legacy from the previous decade. Tron: Ares nearly awakens just once – 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 feel like administering to every producer involved in this film, and it's sad to see the respected Greta Lee's role and Jodie Turner-Smith being made to look so lifeless.
The scenario currently 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, originally set up in the 80s arcade-game era by brilliant innovator Kevin Flynn, portrayed by Jeff Bridges. This Dillinger (initially founded by Encom executive Ed Dillinger's role, acted by David Warner) is led by the founder's odiously nerdish grandson's character Julian (Evan Peters), who has a grand plan to design and create lucrative items such as invincible troops and tanks in the virtual reality grid and then export them into the real world using a sort of 3D printer.
The problem is that no matter how intimidating, these things crumble into dust after twenty-nine minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has uncovered the MacGuffin-y “permanence algorithm” which can keep these things alive for ever, and even stores it on her person on a very low-tech flashdrive. So the ghastly Julian Dillinger sets his attack dog on her: Ares, the superhuman fighter which can exit the virtual realm for 29 minutes at a time but which, in the traditional way of androids, is starting to exhibit symptoms of disobeying what he is commanded. Jodie Turner-Smith's performance plays Ares's stoic deputy Athena and unfortunate Bridges has a leaden legacy cameo in wise white robes, like a budget Jor-El on Krypton's setting.
Moreover, Ares – the hero of the film's name – is acted by Jared Leto with trendy lengthy locks, beard and subtly omniscient grin, touches that were perhaps designed by typing the words “extremely annoying” into an artificial intelligence character generator. No one who recalls the 1990s television classic My So-Called Life will always find it in their hearts to be completely harsh about Jared Leto, and I was incidentally very entertained by his broad (and widely misinterpreted) humorous performance in Ridley Scott's film House of Gucci. But Jared Leto is unremittingly, unrelentingly awful here, although he isn't helped by a limp plot point which is supposed to allow him to show flashes of “empathy” for Greta Lee's character and subcontract all the badass wickedness to Athena, thus making her slightly more engaging. It is meant to be charming when Ares says how he adores 80s synth pop and that Depeche Mode are superior to Mozart.
Consistent with the franchise identity of the franchise, there are motorcycles from the VR netherworld which speed around the environment in linear paths, adhering to the rectilinear design of antique arcade games (or even nightclubs); a single bike even emits a death ray which cuts a police vehicle in two. But there is no drama or danger or human interest anywhere. This franchise currently appears as relevant as an automobile CD system.
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