It’s been 20 years and people Just won’t be silent About the Matrix. You might expect a remix spotTo be just nostalgic to make money, but it also comment Turn nostalgia into making money, refining and updating the film’s original ideas, and furious applause for anyone who’s missed the damn point over the past two decades.
with guns. Lots of guns. And even some jokes.
Matrix Resurrections has now been released, in theaters and on streaming service HBO Max. A visually stunning sci-fi thriller arrives when a variable omicron threatens, so make an informed decision about visiting theaters. Be sure to check the guidelines and restrictions in your local area. If you prefer, you can stream the film at home – shades and leather coats are optional.
Keanu Reeves returns as Thomas Anderson, a computer geek who lives an unfulfilled life and is haunted by the idea that maybe nothing is real. Strange signs and omens keep appearing in his life, forcing him to decide whether he should step out of the psychedelic safety of the mundane or search a dangerous unknown path that includes something called the… The Matrix.
You read that right: The Matrix 4 is pretty much a reset to the beginning of the series, not just going back to the first movie but reviving it and remixing it, turning it upside down and poking what’s inside. Original writer and director Lana Wachowski returns to the world she created with her brother Lilly Wachowski (who wasn’t involved this time), and the new film is almost like the director’s comment on the original. The original films are already played with layers of postmodern reality, self-reflections, and revivals multiply with layer upon layer of meta-consciousness—in fact, comparing it to the director’s commentary seems pretty outdated. , also analog: revival is like a re-recording and remix of a classic album, In Space.
It’s funny that Resurrections is the second blockbuster sequel this year with a title and theme that resurrects a seemingly dead movie series. Like، in a The story, so the characters of the movie admire the original thing, just like the viewers. Silver screen mirror.
In Afterlife, this has been translated as a fan-satisfying tribute that crushes a promising new trend under the weight of unexplained nostalgia. But in Resurrections, Wachowski refuses to please the movie’s audience. In fact, Resurrections addresses the many and varied ways in which the original film was adopted or selected. He scoffs at earnest assertions that the film’s allegory and metaphors mean this or that, and angrily turns his eyes to those who “missed a point”.
With a tired, middle-aged Neo struggle with being surrounded by people who can’t stop talking to him about what The Matrix really means, the film’s opening scenes play out what life must have been for the past two decades for Reeves, especially in the Wachowskis. If you ever go back to one of your favorite movies from your youth and find it surprisingly different through older (and hopefully wiser) eyes, you’ll understand what Lana Wachowski must have gone through. The first half of Resurrection is less tense science fiction questions about simulation and simulation, and a more tense anatomy of art under capitalism. Meditate on Artistic Oud to revive that profitable work of art that people keep talking about, even if you don’t want to. A thorny thesis about the predicament of content scraping in a nostalgic reaper in the digital age.
But, you know, funny.
That’s not me thinking some vague sub-interpretation, by the way – the movie is too literally About forcing Keanu/Anderson to write a word in the literal sense, actual Literally Matrix sequel, actual Recall the famous Warner Bros. game, Anderson suffers in silence while Matrix maniacs yell at him. These early scenes are a candid portrait of an artist struggling with the pain and anxiety of success, like 8 1/2 with more shooting.
Talking about shooting is one of the big reasonsHer work was amazing. On the cusp of the CG revolution and everyone’s minds gone with this innovative time-effect, iconic and unforgettable action scenes popped in the door so the Wachowskis could partake in their many big ideas.
This puts a lot of pressure on this movie to come up with something new and amazing. Again, this is part of the movie, where the character is actually discussing how she can outsmart the cultural influence of bullet time. However, highlighting a problem in a way of self-irony doesn’t solve it, and nothing is as innovative or even exciting as the first movie. Indeed, in the CG era, even recreating the chaos of the gravity-defying Matrix seems weightless. Later sections of the movie feature a digital effect, which is probably very clever but feels like a leftover from.
The effects might not change the rules of the game, but there’s still room for punches and kicks to kick your heart in your mouth. The climax, for example, features one horrific moment that impacts with a terrifying thought rather than the flashy CG. However, the battles offer progressively idle and surprisingly consistent shooting. Sure, it’s nice to see and follow what happens in the punches that are clearer than the incomprehensible shaky camera and the blow-up editing that’s ruining so many action scenes lately. But many of the fight scenes are essentially re-creations of the original, just without the same amount of energy or even a sense of what’s at stake. You feel like Wachowski isn’t interested in hitting and crashing anymore.
Instead, Resurrections seems more interested in refining the ideas of the original films rather than heading in bold new directions. By the end of the sequels (Reloaded and Revolutions), the series has sunk into philosophy heavy, but Resurrections look delightful on their feet by comparison. You don’t have to remember any of the zigzag beliefs of complementary sequences, fortunately (although anything in the real world of head-and-throat knits lasts forever).
While there is plenty of standing around for speech, the fresh faces lend a graceful touch to the actions. In the absence of Laurence Fishburne, Morpheus is once again reincarnated with youthful bravado and eye-catching tailoring by the absurdly watchable (and little used) Yahya Abd al-Mateen II. Meanwhile, Agent Smith, the bad guy in black, has been reinvented as a purely sociopathic/narcissistic bro kind in the form of Jonathan Groff. Neil Patrick Harris and Jessica Henwick are also fun to watch. And watch out for old Lambert Wilson’s face in what’s perhaps the most hilarious social distancing photo where the pandemic is going to happen.
But it’s in Keanu’s other original star, Carrie-Anne Moss, that the movie finds its focus. Trinity now lives the life of a wife and mother, a traditional female role that enrages the essential inner self on which society’s rules and expectations are based. This is clearly a story that Lana Wachowski had more to say (both of the Wachowski siblings are transgender women), and it also gives the film a heartbreaking dramatic punch. I found myself less interested in some technical explanations for how the new Matrix would work, and instead agonized over for Neo and Trinity to find out. together.
As the original trilogy expands, Resurrection is severely reduced to essentially a love story. As you move away from this driving impulse, the middle of the film wobbles off course without a clear sense of direction, threat, or urgency. So in the end, you’ll definitely root Neo and Trinity, that perfect big-screen pairing, to kick the Matrix’s butt again.
Then people may be silent about it. But maybe not.
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