Tron: Ares Film Analysis – Despite Gillian Anderson's Efforts Can't Rescue This Boringly Complex Science Fiction Movie

The framework of pointlessness is reloaded in this mind-bendingly dull science fiction film, more a screensaver than an actual film. It's a third installment to the classic Tron film from 1982, a film that was mould-breaking and boldly pioneering for its time in a way that escapes this film and its predecessor Tron: Legacy from 2010. Tron: Ares almost comes to life just one time – when Evan Peters' character gets a smack in the face from Gillian Anderson's character playing his mother, in an traditional bit of real-world action. That's a piece of tough love you might feel like handing out to all the producers involved in this film, and it's unfortunate to see the estimable Greta Lee and Jodie Turner-Smith's character being made to look so uninspired.

Plot Overview of The New Tron Film

The situation now is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger Corp has become a rival to the VR company Encom Inc, originally set up in the 1980s gaming period by brilliant innovator Kevin Flynn, played by Jeff Bridges. This corporation (initially founded by Encom's executive Ed Dillinger, acted by David Warner) is led by the founder's annoyingly geeky grandson's character Julian Dillinger (Evan Peters), who has a grand plan to develop and produce lucrative items such as indestructible soldiers and tanks in the VR world and then export them into actual reality using a sort of 3D printer.

The problem is that no matter how intimidating, these creations crumble into dust after twenty-nine minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has discovered the MacGuffin-y “permanence code” which can keep these things alive permanently, and even keeps it on her person on a extremely basic USB drive. 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 androids, is beginning to show signs of not doing what he is commanded. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena's role and unfortunate Jeff Bridges has a leaden legacy cameo in wise white robes, like a Poundshop Jor-El on Krypton.

Character and Performance Breakdown

Moreover, Ares – the protagonist of the title – is acted by Jared Leto with trendy lengthy locks, beard and faintly all-knowing smile, touches that were perhaps created by inputting the words “extremely annoying” into an AI human creation programme. No one who recalls the 90s TV classic My So-Called Life will always find it in their hearts to be totally rude about Mr Leto, and I was also very entertained by his broad (and widely misinterpreted) comic turn 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 weak storyline 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 rendering her marginally more interesting. It is meant to be charming when Ares the character says how he loves 1980s electronic music and that Depeche Mode are superior to Mozart.

Series Features and Final Impression

And in keeping with the brand-identity of the franchise, there are motorcycles from the virtual underworld which speed around the environment in long straight lines, conforming to the rectilinear design of classic video games (or indeed dance clubs); one even shoots out a death ray which slices a cop car in half. But there is no drama or jeopardy or emotional engagement throughout. This franchise currently appears as relevant as an automobile CD system.