Review of Tron: Ares – Despite Gillian Anderson Fails to Save This Boringly Complex Sci-Fi Movie

The matrix of futility is reloaded in this tediously complex science fiction film, closer to a screensaver than an actual film. This is a third installment to the original movie Tron from 1982, a movie that was mould-breaking and boldly pioneering for its day in a way that eludes this one and its forerunner Tron Legacy from 2010. The new Tron film almost comes to life just once – when Evan Peters' character gets a slap in the face from Gillian Anderson's character portraying his mum, in an old-fashioned bit of real-world action. That's a bit of firm parenting you might want to handing out to all the producers engaged in this movie, and it's sad to see the respected Greta Lee and Jodie Turner-Smith being made to look so uninspired.

Story Summary of The New Tron Film

The situation now is that an malicious artificial intelligence company with the obviously criminal name of Dillinger has become a competitor to the VR company Encom, originally set up in the 1980s gaming period by genius trailblazer Kevin Flynn, played by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger, acted by David Warner) is led by the founder's odiously nerdish grandson Julian (Evan Peters), who has a ambitious scheme to design and create profitable things such as invincible troops and tanks in the virtual reality grid and then export them into actual reality using a sort of three-dimensional printer.

The issue is that however fearsome, these creations crumble into dust after 29 minutes. But Encom's present chief executive Eve Kim (Greta Lee) has discovered the MacGuffin-y “permanence code” which can keep these things alive permanently, and even stores it on her person on a very low-tech flashdrive. So the ghastly Julian sets his attack dog on her: Ares the warrior, the superhuman fighter which can exit the virtual realm for 29 minutes at a time but which, in the traditional 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 Poundshop Jor-El on Krypton's setting.

Acting and Roles Breakdown

Moreover, Ares – the hero of the title – is played by Jared Leto with hipsterish long hair, facial hair and faintly all-knowing smile, details that were perhaps designed 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 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) comic turn in Ridley Scott's film House of Gucci. But Jared Leto is consistently, unrelentingly terrible here, although his performance isn't aided by a weak storyline 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 slightly more engaging. It is supposed to be charming when Ares says how he loves 80s synth pop and that Depeche Mode band are better than Mozart.

Franchise Elements and Final Impression

And in keeping with the brand-identity of the series, there are motorbikes from the virtual underworld which whizz about the place in linear paths, adhering to the angular layout of antique arcade games (or indeed dance clubs); one even emits a lethal beam which slices a cop car in half. But there is zero tension or danger or emotional engagement throughout. This series currently appears as relevant as an automobile CD system.