« The Matrix Trilogy » had a nice sound. It sounded complete, and more importantly, it was complete.
Published: December 23, 2021 8:44 AM |
Last updated: December 23, 2021 8:44 am
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« The Matrix Trilogy » had a nice sound. It sounded complete, and more importantly, it was complete. So, yeah, I was wondering what would require a fourth film. Why fix what is not broken? However, Lana Wachowski sees some things broken. For one, she seems to have a problem with the idea of The One.
The Matrix Resurrections actually feels like a self-analysis of the trilogy. It is a « second chance » to correct the injustice (or what they think is wrong anyway) with the groundbreaking work of the Wachowskis. At the expense of self-knowledge, however, the film loses sight of its right to exist. It does a great job with the metajokes, but you don’t see the same enthusiasm when it comes to answering the bigger questions. The first is: Why did the machines « revive » Neo (Keanu Reeves) and Trinity (Carrie-Anne Moss)? That’s been the crux since Part Four was announced.
To shake your memory, the Matrix Revolutions ended with Neo and Trinity sacrificing themselves to end the war between machines and humans. Neo concludes a truce with the machines. He stops Smith for the Machines and in return brings peace to humanity and the city of Zion. The last thing we see is an unconscious body of Neo being dragged away by a machine.
So why let him come back? Why bring Trinity back? We get an answer, but it’s a bit of a hassle. It’s one of the reasons this new addition to the franchise doesn’t feel as organic as its predecessors. While the trilogy dealt with real conflict, we don’t mind the extent of the problems in these new additions. It seems like nothing is really at stake here. In Resurrections we see Neo (aka), Thomas Anderson, a world famous game designer who created a groundbreaking video game series called The Matrix. His boss Smith (Jonathan Groff) now wants him to do the fourth part because Warner Bros ordered them to (wink, wink).
When he reluctantly gets to work, something about his reality doesn’t seem to be right voices. There’s also the fatal attraction for a married woman named Tiffany (Carie Anne-Moss) whom he sees in a neighborhood cafe. We also have a new Morpheus played by Yahya Abdul-Mateen II. Let’s just say that much of the Resurrection is just a déjà vu from The Matrix (1999), but that’s also the best part of this movie.The meta-humor is delicious in these servings, with Lana reflecting the trilogy with a sarcastic perspective that almost makes her feel like she isn’t taking things too seriously. I was especially amused and shocked to see The Merovingian (Lambert Wilson) and Xiles, formidable forces in Reloaded and Revolutions, just get used to a stunt sequence and some great laughs. It’s also weirdly hilarious to see Merv Bay spin off.
Even the new Smith here is being exploited for a dose of nostalgia and as a deus ex machina. The CGI sequences are amazing and that really comes as no surprise. If the Wachowskis could manage The Matrix in 1999 … But the violence and stunts seem to be restrained here. The trilogy’s fight sequences are still a pop culture phenomenon, but let’s keep in mind that Lana Wachowski made the Netflix series Sense 8, where one line says, « Violence has a gender ». Perhaps this time the rabbit hole took us to a different place that we hadn’t quite expected.
Possible disappointments with this film stem mainly from our expectations based on the previous films. Yes, there is hardly anything groundbreaking here, also in the gender policy of the film. And yet it is also a film that remembers its fandom, with all its Easter eggs and callbacks. After three decades, The Matrix (1999) and subsequent films remain fresh. I get on my feet here and predict that this may not quite happen for this fourth film.
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