Once you’ve established a franchise, there must be a desire to churn as many out in quick succession as you can. No one knows this more than Disney, with over forty of their titles having sequels.

One of theirs however has taken its time between films, and that’s Tron. The first was released in 1982, looking like nothing else before it. Its sequel Tron: Legacy followed 28 years later in 2010. The third has now arrived, 15 years later, where it brings the Tron world into our very own.

Computing power has reached incredible levels, as both ENCOM and fierce rivals Dillinger Systems compete to develop never before seen technology into the world, that of creating digital constructs into the real world.

Dillinger edges it, thanks to the genius of Julian Dillinger (Evan Peters), who does just that, but frustrated by the fact they only last 29 minutes before deresolution occurs and they disappear.

His one creation is Ares (Jared let), a Master Control Program, who gets sent to our world numerous times, especially when they learn that rivals boss Eve (Greta Lee) has discovered the permanence code, which will allow these digital constructions to remain indefinitely, and in doing so give life to Ares.

Julian orders Ares to seek out the code, unaware that his time in our world is influencing his judgement, and has ideas for the code of his own.

It’s surprising that it’s taken 15 years for a sequel, considering that film made over $400 million at the box office. Unfortunately this release was less lucky with a box office return that was less than its considerable budget.

That said, it’s still an admirable addition, and certainly fits in well with its previous titles.

Norwegian director Joachim Rønning appears to be on a retainer with Disney, with this being the fourth successive title he’s made for them, with the majority of them making a hefty return for the house of mouse.

He doesn’t do a lot wrong here, sticking diligently to the Tron template, in terms of both story, and visuals, which is where it really excels.

It is, unequivocally, a work of art. The visual style is a stunning overload to the optics, with a neon red signature used throughout.

It is accompanied by a thumping electro soundtrack, supplied by Nine Inch Nails, that that doesn’t just support but interlaces with it, connecting Tron with our world with perfect synchronicity, making the marriage of the two a hammering ( appropriately enough considering the artists involved) to the senses.

Where it may have come unstuck at the box office is with its plot; it’s a fairly simple one, that sees the Tron world enter our own, but conveyed with a convoluted narrative, which in its defence, is a Tron trademark. It takes itself far too seriously, which the director was aware of, and injecting a small amount of comedy, which was welcome, but not enough to alleviate the tech heavy scenario.

There are whiffs of classics too, such as the Terminator and Robocop, especially where Leto’s character is concerned, where he slowly learns to feel human; it’s a performance that can easily be described as wooden – or more accurately robotic – which Leto delivers perfectly, and certainly in keeping with the tone of the franchise, but considering he’s a staunch method actor, it’s hardly a surprise, and to his credit, his character’s journey is a believable one.

And just like the previous entries, the film is surprisingly un-Disney, which is part of its charm, as it approaches the material in a suitably binary fashion.

Sure it has a few kinks, like weak character interaction and dialogue, and the fact that we never see the country’s response to the bewildering events taking place on their streets, but Rønning’s on-brand vision is an impressive one, that is a perfect addition to the franchise, of what is yet another fine example of striking sci-fi.