Tron: Ares Film Analysis – Despite Gillian Anderson's Efforts Fails to Rescue This Incredibly Boringly Complex Sci-Fi Film

The framework of futility is reloaded in this tediously complex sci-fi movie, closer to a screensaver than an actual film. It's a third installment to the classic Tron film from the early 80s, a movie that was mould-breaking and boldly pioneering for its time in a way that escapes this one and its forerunner Tron: Legacy from the previous decade. The new Tron film nearly comes to life just one time – when Evan Peters' character gets a smack in the face from Gillian Anderson's character portraying his mother, in an old-fashioned bit of real-world action. This is a piece of tough love you might feel like handing out to all the producers involved in this movie, and it's sad to see the respected Greta Lee's role and Jodie Turner-Smith's character being made to look so uninspired.

Story Summary of Tron: Ares

The situation currently is that an evil AI corporation with the obviously criminal name of Dillinger Corp has become a competitor to the VR company Encom Inc, originally set up in the 1980s gaming period by genius trailblazer Kevin Flynn, portrayed by Jeff Bridges. This corporation (originally set up by Encom executive Ed Dillinger's role, acted by David Warner) is led by the founder’s odiously nerdish grandson Julian Dillinger (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 transfer them into actual reality using a sort of 3D printer.

The issue is that no matter how intimidating, these creations disintegrate after twenty-nine minutes. But Encom's current CEO Eve Kim (Greta Lee) has uncovered the plot-driving “permanence algorithm” which can keep these things alive for ever, and even stores it on her person on a very low-tech USB drive. So the ghastly Julian Dillinger deploys his enforcer on her: Ares the warrior, the superhuman fighter which can leave the VR world for twenty-nine minutes at a time but which, in the time-honoured 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 unfortunate Bridges has a leaden legacy cameo in sage-like white garments, like a Poundshop Jor-El on Krypton's setting.

Acting and Roles Analysis

Moreover, Ares – the protagonist of the title – is played by Jared Leto with trendy lengthy locks, beard and subtly omniscient grin, details that were perhaps created by typing the words “incredibly irritating” into an AI human creation programme. No one who remembers the 90s TV classic My So-Called Life will always find it in their hearts to be totally rude about Jared Leto, and I was also quite amused by his expansive (and critically misunderstood) comic turn in Ridley Scott's film House of Gucci. But Leto is consistently, persistently terrible in this film, although he isn't helped by a weak storyline which is intended to allow him to display glimpses of “empathy” for Eve Kim's role and delegate all the villainous actions to Athena's character, thus making her slightly more engaging. It is meant to be charming when Ares says how he adores 1980s electronic music and that Depeche Mode are superior to Mozart's compositions.

Franchise Elements and Overall Impact

Consistent with the brand-identity of the series, there are motorcycles from the VR netherworld which speed around the place in linear paths, adhering to the rectilinear design of classic video games (or indeed nightclubs); a single bike even emits a lethal beam which slices a police vehicle in two. But there is no drama or jeopardy or emotional engagement throughout. This franchise now looks as relevant as an automobile CD system.