Tron: Ares Film Analysis – Even Gillian Anderson Can't Save This Incredibly Boringly Complex Sci-Fi Film
The framework of futility is revisited in this tediously complex science fiction movie, more a screensaver than an actual film. It's a threequel to the original movie Tron from the early 80s, a film that was mould-breaking and boldly pioneering for its time in a way that eludes this film and its forerunner Tron Legacy from 2010. The new Tron film nearly comes to life just one time – when Evan Peters gets a smack in the face from Gillian Anderson portraying his mother, in an traditional bit of analogue reality. This is a piece of tough love you might feel like handing out to every producer involved in this film, and it's unfortunate to see the respected Greta Lee and Jodie Turner-Smith's character being made to look so lifeless.
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, first established in the 80s arcade-game era by genius trailblazer Kevin Flynn's character, played by Jeff Bridges. This Dillinger (originally set up by Encom executive Ed Dillinger's role, acted by David Warner) is led by the founder’s annoyingly geeky grandson's character 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 the real world using a kind of three-dimensional printer.
The issue is that however fearsome, these creations crumble into dust after 29 minutes. But Encom's current CEO Eve Kim's character (Greta Lee) has uncovered the MacGuffin-y “permanence code” which can keep these things alive for ever, and even stores it on her person on a very low-tech USB drive. So the dreadful Julian Dillinger sets his attack dog on her: Ares, the humanoid uber-warrior which can exit the virtual realm for twenty-nine minutes at a time but which, in the time-honoured way of robots, is starting to exhibit symptoms of not doing what he is commanded. Jodie Turner-Smith's performance portrays Ares's deadpan second-in-command Athena's role and unfortunate Bridges has a wooden legacy appearance in sage-like white garments, like a Poundshop Jor-El on Krypton.
Acting and Roles Analysis
Moreover, Ares – the hero of the film's name – is acted by Jared Leto with trendy lengthy locks, facial hair and faintly all-knowing smile, touches that were possibly designed by typing the words “incredibly irritating” into an AI human creation programme. Nobody who remembers the 90s TV classic My So-Called Life will ever find it in their hearts to be totally rude about Mr Leto, and I was also quite amused by his expansive (and widely misinterpreted) humorous performance in Ridley Scott's film House of Gucci. But Leto is consistently, persistently awful here, although he isn't helped by a weak storyline which is intended to allow him to show flashes of “empathy” for Greta Lee's character and delegate all the villainous actions to Athena, thus making her slightly more engaging. It is supposed to be charming when Ares the character says how he adores 80s synth pop and that Depeche Mode are superior to Mozart's compositions.
Franchise Elements and Overall Impact
Consistent with the franchise identity of the franchise, there are motorcycles from the VR netherworld which whizz about the place in long straight lines, conforming to the rectilinear design of classic video games (or indeed nightclubs); one even emits a lethal beam which cuts a cop car in two. But there is no drama or jeopardy or human interest throughout. This franchise currently appears as relevant as an in-car CD player.
