‘The Matrix Resurrections’ Is Even Sillier Than Mark Zuckerberg’s Metaverse

When George Lucas chose to prolong it star Wars Triple with 1999 phantom dangerHe did so knowing that there was huge fan demand and, most importantly, more stories to tell. This is not the case with the matrix The original series (which premiered the same year with Lucas’s prequel, Stealing Lots of Thunder) remains hugely influential for its fast-paced effects and red-pill simulation theory fantasy, but its deeply disappointing sequels ended both its tale and franchise’s widespread benefit.

So, Resurrection Matrix (December 22, in theaters and on HBO Max) reaches a flurry of average excitement due to the lack of a perceived purpose. As it turns out, there’s a good reason for this situation: devoid of his trademark style, work, and depth, he’s a pointless pursuit of obvious self-referral in order to justify its existence.

Most Resurrection MatrixMeta hoaxes are limited to their early release, highlighted by company chief Smith (Jonathan Groff) who explained to his game design partner Thomas Anderson (Keanu Reeves) that Warner Bros. would make the fourth installment in their success. the matrix Video game series with or without their participation, so that they can also join the project. Anderson’s smash video game, as one might expect from this setting, is based on the events of the first three matrix the movies, although we never see the actual interactive title; Instead, it was cast as a literal scenes from the cinematic works of Lana and Lilly Wachowski. Did not matter. What’s front and center during these initial segments is the game developers dissecting many of the things (bullet time, metaphors, extreme violence) that made the franchise so popular in the first place.

This plays out as simpler than clever, but it does at least add a temporary new wrinkle to a well-worn mold. As directed only by Lana Wachowski (who co-wrote the screenplay with David Mitchell and Aleksandar Hemon), Resurrection Matrix He wants to play with the nature of Anderson’s reality, with which he himself struggles, primarily in therapy sessions with an analyst (Neil Patrick Harris) focused on a previous suicide attempt born out of his guiding belief that the matrix Not so much a product of his imagination as of memory. As if that weren’t enough of the film’s mystery, it also gives us an introductory view of a badass named Bugs (Jesica Henwick) who, while on The Matrix, goes on a tour with an agent (Yahya) Abdul Mateen II) leading them to Anderson’s old apartment. In the blink of an eye, Abd al-Mateen II’s character was revealed to be Morpheus, the true believer played by Laurence Fishburne in the first trilogy. But even this is not entirely true; Talking about modeling and programming suggests that it’s some kind of compositional variation on the teacher at Fishburne.

Resurrection Matrix It moves in a scandalous clip from the start, and there’s some joy to be had from being bombarded with names, faces, facts, and scenarios that seem like an alternate universe is taking the bedrock. matrix Material. Yet beneath its puzzling surface, Wachowski remains a strange, predictable device based on the unavoidable fact that Anderson really is Neo, and that he somehow found himself imprisoned in the Matrix by Earth Machine lords. How did this scenario happen – given that Neo apparently died at the end Matrix revolutions—Not explained until much later, up to a runtime of two and a half hours. But what is even more frustrating is that the answer to this question is treated as hastily as anything else in this confusing story, which has a penchant for explaining the after-revolutions Events with large blocks of quasi-coherent display.

Anderson eventually embraced his new interior, facilitating the film’s trips to the “real world,” where humans now live in a gigantic city far more advanced than their former safe haven Zion. As before, every time Resurrection Matrix He departs from the Matrix to this bleak planet, and all traces of wonder, vitality, and excitement at once disappear; The best that can be said about brooding humanity is that it seems to have overcome the impulse to organize embarrassing cavernous delirium. Fortunately, Neo spends less time on the field—supervised by a familiar face in very old makeup—than partnering with Bugs and her crew on a mission to free Trinity (Carrie-Ann Moss) from slavery. This requires her unwinding from the chamber of her sticky hose as well as opening her eyes to the Matrix, where she lives as a wife and mother who is haunted by Anderson at a café called, Wink Wink, Simulat.

This requires her unwinding from the chamber of her sticky hose as well as opening her eyes to the Matrix, where she lives as a wife and mother who is haunted by Anderson at a café called, Wink Wink, Simulat.

While some of this may read as crafty on the page, in practice, Resurrection Matrix He is an unruly beast who himself has forgotten what made his sci-fi fantasy so unique and captivating in the first place. From Bugs (named after the Looney Tunes rabbit), to the sound of Jefferson Airplane’s “White Rabbit,” to the scenery Alice in Wonderland Not to mention the glassy-looking portals that Neo and the company are jumping through now (the phones are 1999) — Wachowski scrutinizes her insinuations. She does the same with her objective preoccupations with dualities (free will and destiny, truth and imagination, conscious and unconscious, desire and fear) and with the overarching concept that stories become true when they deeply evoke one’s heart and mind. Not so much dramatized as explicitly expressed between fleet martial arts skirmishes and massive gunfire, these elements strive to give a modicum of prominence to these actions.

in the process, Resurrection Matrix It forgoes everything creative about the franchise. Gone are the impeccably crafted combat pieces, replaced here by a jerky, sloppy jerky motion punctuated by a plethora of slow-motion shots. Most overlooked is Hugo Weaving’s overstated Agent Smith, an embodiment of the whole affair’s evil, as well as a truly dramatic, dramatic stakes scale. While Groff and Harris do their best to put new changes to popular characters, they – like everything in this unnecessary sequel – come across as large-scale replicas rather than exciting upgrades. Reprising their famous roles, Reeves and Moss are at least able to rekindle a little of the romantic spark they once shared. Alas, for the most part, they are portrayed not as complex heroes of flesh and blood, but as the heroes of Loachowski’s wishful-looking philosophical whirlpool. Unable to dynamically expand the series’ ideas and format, it’s a less-than-zero movie.


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