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

The framework of futility is reloaded in this tediously complex sci-fi movie, more a screensaver than an actual film. This is a third installment to the classic Tron film from 1982, a movie that was groundbreaking and courageously innovative for its time in a way that escapes this film and its predecessor Tron Legacy from 2010. Tron: Ares almost awakens just once – when Evan Peters gets a smack 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 feel like handing out to all the producers engaged in this film, and it's unfortunate to see the respected Greta Lee's role and Jodie Turner-Smith's character being made to look so lifeless.

Story Summary of Tron: Ares

The scenario currently is that an evil AI corporation with the unsubtly gangster-ish name of Dillinger Corp has become a competitor to the virtual reality firm Encom, originally set up in the 1980s gaming period by genius trailblazer Kevin Flynn's character, portrayed by Jeff Bridges. This corporation (originally set up by Encom's executive Ed Dillinger's role, acted by David Warner) is headed by the founder’s annoyingly geeky grandson Julian (Evan Peters), who has a ambitious scheme to develop and produce profitable things such as invincible troops and tanks in the virtual reality grid and then transfer them into actual reality using a sort of three-dimensional 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 (Greta Lee) has discovered the plot-driving “permanence algorithm” which can maintain these entities for ever, and even keeps it on her person on a extremely basic flashdrive. So the dreadful Julian Dillinger deploys his enforcer on her: Ares, the superhuman fighter which can leave the VR world for 29 minutes at a time but which, in the traditional way of androids, is beginning to show signs of disobeying what he is commanded. Jodie Turner-Smith portrays Ares's stoic deputy Athena's role and unfortunate Bridges has a wooden legacy appearance in sage-like white garments, like a Poundshop Jor-El on Krypton's setting.

Acting and Roles Breakdown

Moreover, Ares – the protagonist of the title – is played by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, touches that were possibly created by typing the words “incredibly irritating” into an artificial intelligence character generator. No one who recalls the 90s TV classic My So-Called Life series will always find it in their hearts to be completely harsh about Mr Leto, and I was incidentally very entertained by his expansive (and critically misunderstood) comic turn in Ridley Scott's film House of Gucci. But Leto is consistently, persistently awful here, although his performance isn't aided 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 villainous actions to Athena, thus making her marginally more interesting. It is meant to be charming when Ares says how he loves 1980s electronic music and that Depeche Mode are better than Mozart's compositions.

Franchise Elements and Overall Impact

And in keeping with the brand-identity of the franchise, there are motorcycles from the VR netherworld which whizz about the environment in linear paths, adhering to the rectilinear design of classic video games (or even dance clubs); a single bike even shoots out a lethal beam which slices a police vehicle in half. But there is no drama or jeopardy or emotional engagement throughout. This franchise now looks about as urgently contemporary as an automobile CD system.