🔗 Share this article

The framework of futility is reloaded in this tediously complex science fiction movie, more a screensaver than an actual film. This is a threequel to the classic Tron film from the early 80s, a film that was groundbreaking and boldly pioneering for its day in a way that eludes this one and its predecessor Tron: Legacy from the previous decade. The new Tron film almost awakens just one time – when Evan Peters' character gets a smack in the face from Gillian Anderson playing his mum, in an traditional bit of real-world action. This is a bit of firm parenting you might want to administering to every producer engaged in this film, and it's unfortunate to see the estimable Greta Lee's role and Jodie Turner-Smith being made to look so lifeless.

Story Summary of The New Tron Film

The situation now is that an evil AI corporation with the obviously criminal name of Dillinger has become a rival to the virtual reality firm Encom Inc, originally set up in the 80s arcade-game era by genius trailblazer Kevin Flynn's character, played by Jeff Bridges. This Dillinger (originally set up by Encom's executive Ed Dillinger, acted by David Warner) is headed by the founder’s odiously nerdish grandson's character Julian Dillinger (Evan Peters), who has a grand plan to develop and produce profitable things such as indestructible soldiers and armored vehicles in the VR world and then export them into the real world using a sort of three-dimensional printer.

The issue is that no matter how intimidating, these creations crumble into dust after 29 minutes. But Encom's current CEO Eve Kim (Greta Lee) has uncovered the MacGuffin-y “permanence code” which can maintain these entities for ever, and even stores it on her person on a very low-tech USB drive. 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 twenty-nine minutes at a time but which, in the traditional way of robots, is beginning to show signs of disobeying what he's told. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena's role and poor Bridges has a leaden legacy cameo in wise white robes, like a budget Jor-El on Krypton.

Acting and Roles Breakdown

Moreover, Ares – the hero of the film's name – is played by Jared Leto with trendy lengthy locks, facial hair and subtly omniscient grin, details that were possibly designed by typing the words “incredibly irritating” into an AI human creation programme. No one who recalls the 90s TV classic My So-Called Life will ever find it in their hearts to be completely harsh about Jared Leto, and I was also very entertained by his expansive (and critically misunderstood) humorous performance in Ridley Scott's movie House of Gucci. But Jared Leto is unremittingly, persistently awful in this film, although he isn't helped by a limp plot point which is intended to allow him to show flashes of “compassion” for Greta Lee's character and delegate all the villainous actions to Athena, thus rendering her marginally more interesting. It is supposed to be charming when Ares the character says how he loves 1980s electronic music and that Depeche Mode are superior to Mozart's compositions.

Franchise Elements and Final Impression

Consistent with the franchise identity of the franchise, there are motorcycles from the VR netherworld which speed around the environment in linear paths, conforming to the angular layout of antique arcade games (or indeed dance clubs); one even emits a lethal beam which slices a police vehicle in half. But there is no drama or danger or emotional engagement throughout. This franchise now looks as relevant as an automobile CD system.