The framework of pointlessness is reloaded in this mind-bendingly dull sci-fi movie, closer to a screensaver than an actual film. It's a third installment to the original movie Tron from the early 80s, a movie that was mould-breaking and boldly pioneering for its day in a way that escapes this film and its predecessor Tron: Legacy from 2010. The new Tron film nearly awakens just one time – when Evan Peters gets a slap in the face from Gillian Anderson playing his mother, in an old-fashioned bit of real-world action. That's a bit of firm parenting you might want to 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 uninspired.
The scenario currently is that an evil AI corporation with the obviously criminal name of Dillinger has become a rival to the VR company Encom, first established in the 1980s gaming period by brilliant innovator Kevin Flynn's character, portrayed by Jeff Bridges. This corporation (initially founded by Encom's executive Ed Dillinger, played by David Warner) is led by the founder's odiously nerdish grandson's character Julian (Evan Peters), who has a ambitious scheme to develop and produce lucrative items such as indestructible soldiers and tanks in the virtual reality grid and then transfer them into actual reality using a sort of three-dimensional printer.
The issue is that no matter how intimidating, these things disintegrate after 29 minutes. But Encom's current CEO Eve Kim (Greta Lee) has uncovered the MacGuffin-y “permanence code” which can maintain these entities permanently, and even keeps it on her person on a extremely basic flashdrive. So the dreadful Julian 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 time-honoured way of androids, is beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith portrays Ares's stoic deputy Athena and unfortunate Jeff Bridges has a leaden legacy cameo in wise white robes, like a budget Jor-El on Krypton.
Moreover, Ares – the protagonist of the title – is played by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, touches that were possibly created by inputting the words “extremely annoying” into an AI human creation programme. Nobody who recalls the 1990s television classic My So-Called Life will ever find it in their hearts to be completely harsh about Mr Leto, and I was also very entertained by his broad (and widely misinterpreted) humorous performance in Ridley Scott's movie House of Gucci. But Leto is consistently, persistently terrible here, although he isn't helped by a limp plot point which is intended to allow him to display glimpses of “compassion” for Eve Kim's role and subcontract all the badass wickedness to Athena's character, thus making her marginally more interesting. It is meant to be charming when Ares says how he adores 80s synth pop and that Depeche Mode band are better than Mozart's compositions.
Consistent with the brand-identity of the franchise, there are motorcycles from the virtual underworld which whizz about the environment in long straight lines, adhering to the rectilinear design of antique arcade games (or even nightclubs); one even emits a death ray which cuts a police vehicle in two. But there is no drama or jeopardy or human interest anywhere. This series currently appears as relevant as an in-car CD player.
Elara is a seasoned writer and digital storyteller with a passion for exploring diverse literary genres and empowering others through words.
