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Despite the fact that “The Matrix Resurrections” is the first “Matrix” film to hit theaters since 2003’s “The Matrix Revolutions,” it is not the first time the franchise has appeared in theaters this year. It was “Space Jam: A New Legacy,” the cinematic shareholder meeting for Warner Bros. with special celebrity guests, that earned the distinction. The meeting included the introduction of Looney Tunes characters Speedy Gonzales and Granny into a scene from the film “The Matrix.” Gretchen jumped in the air and kicked a police officer in the face like Trinity, while Speedy Gonzales dodged bullets in slow motion. This scene from “Space Jam: A New Legacy” should be included as an addendum to the 2003 animated omnibus, “The Animatrix,” which detailed how the Matrix was created, how a post-apocalyptic war against robots led to human suffering being harvested to fuel a world of machines.
This is the reality in which we live, one that is governed by Warner Bros.’ Serververse, and it is also the context in which “The Matrix Resurrections” takes place, as well. Director Lana Wachowski returns to the cyberpunk franchise that launched her career as one of the world’s greatest sci-fi/action directors, but be warned that no force is as powerful as Warner Bros.’ desire for a lighter and brighter take on “The Matrix” to bring it to the big screen. However, despite the fact that “The Matrix Resurrections” is a reboot with some impressive philosophical flourishes and grandiose set-pieces where things go boom in slow motion, it is also the weakest and most compromised “Matrix” film to date.
“The Matrix Resurrections,” written by Wachowski, David Mitchell, and Aleksandar Hemon, is about building on familiar beats, characters, and plot elements; call it deja vu, or just call it a convoluted clip show; it’s about building on familiar beats, characters, and plot elements. Beginning with the introduction of a new character named Bugs (Jessica Henwick), who witnesses Trinity’s famous telephone escape before embarking on her own swooping, bullet-dodging escape, the film later introduces new versions of previous characters into the mix. This series’ wise man, Morpheus, is no longer played by Laurence Fishburne, but by Yahya Abdul-Mateen II, who looks just as cool in dark color coats and sunglasses with two machine guns in hand as he did in the previous series, but who appears to be there for an unclear reason. It’s likely that the characters in “The Matrix Resurrections” will bend over backwards to explain why they are. The same can be said for how heroes Neo and Trinity are brought back, despite the fact that “The Matrix Revolutions” took great care in killing them off. This is the kind of film in which it doesn’t really matter when you last saw the original films; in fact, it’s possible that your experience will be even better if you haven’t seen any of them.
Additionally, it is concerned with making you painfully aware of what constitutes Matrix intellectual property, as it places Keanu Reeves’ hero Neo, who is known in the Matrix as a brilliant video game programmer named Thomas Anderson, in a board room with a group of creatives, all of whom are tasked with coming up with ideas for a sequel. After his game “The Matrix” became a hit, he was put under pressure by his boss (and Warner Bros.); “bullet-time” is discussed with awe by stock geek characters as something that needs to be topped. That “The Matrix” is framed as a new type of simulation, one that was created by Thomas Anderson inside the actual Matrix, as taken from his dreams that come from taking a blue pill daily, rather than the eye-opening red pill he took in the original 1999 film, is one of the film’s more reality-shifting ideas. It all ends up contributing very little to the overall picture, just like many of the Warner Bros.-related meta redirections.
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The sequel to “The Matrix” brings back the love story of Trinity (Carrie Anne Moss) and Neo, our two cyber heroes whose romantic connection gave the first two films a sense of desperation that was greater than the impending apocalypse. However, they are not acquainted in this setting, despite the fact that Thomas’ video character Trinity looks strikingly similar to Moss. He encounters her as a customer in a Simulatte coffee shop named Tiffany, with whom he is wary of striking up a conversation, particularly because she has children and a husband named Chad (played by Chad Stahelski). Reeves and Moss are both emotionally invested in this whimsical arc about fated lovers, but the film leans too heavily on nostalgia, relying on our emotions from previous films to make us care about why they should be together in the first place.
One of the most important stakes in the film is in the mind of Thomas, who has been having daydreams that are clips from the “Matrix” movies while sitting in a bathtub with a rubber ducky on his head throughout the film. Fortunately, he has some guidance from his therapist, played by Neil Patrick Harris, who is attempting to make sense of Thomas’s break from reality, which previously resulted in him attempting to walk off a roof while believing he could fly. Let us say that Harris’ role in “The Matrix” is a mystery for now, but it is an unexpected one that causes you to take him seriously, particularly in terms of how he analyzes our own understanding of the film. Then, it becomes clear that, just as Morpheus is a little different than we remember him to be, there’s an entirely different Smith, who is played by Jonathan Groff and attempts to imitate Hugo Weaving’s slithering line delivery that comes from a tightly clenched jaw in an attempt to impersonate Hugo Weaving. There are also copies of agents who take over the bodies of other people and dress impeccably in suits and ties while pursuing the bad guys.
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Once Thomas believes Morpheus, he will be subjected to a great deal of Matrixing, which is more entertaining to witness in the movie than to hear anyone explain it in detail. In addition to the feeling of Thomas returning to the beginning, the film features a training sequence in which Reeves and Abdul-Mateen II perform a recreation of the dojo scene from “The Matrix,” except Neo leaves with a different power that necessitates less movement. As part of Neo’s journey back down the rabbit hole, there’s a breakneck, candy-colored fight sequence on a speeding train, in which the blitzing score by Johnny Klimek and Tom Tykwer appears to be powering the locomotive.
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Another aspect of the “Matrix” experience is expositional philosophizing, and there’s a particularly memorable line here from one of the film’s villains about fear and desire being the two human modes (you can almost imagine this line scribbled in Wachowski’s notebook) that’s worth mentioning. However, these lengthy passages also conceal the fact that the film is attempting to shift the goal posts, implying that the rules of the Matrix are subject to change, but that the film’s saga about cyber messiahs necessitates the continuation of the franchise. And, while post-apocalyptic, real-world action has always been less exciting than the stylized anarchy up in the Matrix, the disparity in intrigue is even more noticeable in this installment. While you’re watching the film, certain returning members of the underground land of Zion, including Niobe (Jada Pinkett Smith, aged forward), try and fail to convince you that this is the ultimate world-saving chapter, despite the fact that the franchise no longer feels dangerous. With the introduction of a micro, cutesy, fist-bumping descendant of the sentinel machines that used to rip humans apart, the latter note becomes all the more obvious.
The action, which is fast-paced and snazzy, proves to be the most pure element in this film; for years, we’ve been watching directors try to replicate what Wachowski and her sister Lilly did with “The Matrix” films, and now we can get caught up in her fast-paced action, which combines kung fu with acrobatic gunplay, often in lush slow motion. “The Matrix Resurrections” makes up for all of the cheesy talk about bullet time (which almost takes away the excitement of being in awe of it) with some exhilarating, big-budget frescoes painted with dozens of flying extras and hundreds of bullets in certain scenes. As a result, the film’s grand finale is an action masterpiece, as it thrives on the amount of adrenaline that can be derived from layering multiple big explosions as things suddenly crash into frame, all while in the middle of a high-speed chase.
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And yet, after the rush of adrenaline from a sequence like that has worn off, you can’t help but think about the man who sat next to Steven Soderbergh on an airplane and watched a clip show of explosive action scenes, almost convincing the director to give up filmmaking in 2013. However, while the action in “The Matrix Resurrections” is incredible, it isn’t those elements that free the mind from the medium, such as bold storytelling, that “The Matrix” preached and then went on to become a game-changing classic, only to become a docket for satisfying shareholders. Which is better, the blue pill or the red pill? It doesn’t make a difference anymore because they’re both placebos.
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The film will be released in theaters and on HBO Max the following day.
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