Action / Sci-Fi
Keanu Reeves, Carrie Ann Moss, Yahya Abdul-Mateen II, Neil Patrick Harris, Jonathan Groff, Jada Pinkett Smith
First offer data:
25. December 2021
«The fourth Matrix movie is almost unbearably satisfied»
Stylishly dressed hackers with martial arts skills and a tendency to wear sunglasses at night discover a mysterious symbol that puts them on the trail of Thomas Anderson himself, better known as Neo (Keanu Reeves). Despite everything that happened at the end of the “revolutions”, he’s still alive, and maybe he’s still The One. Neo is now a world-renowned computer game developer. His ‘Matrix’ game trilogy was so amazing it changed the world and made people open their eyes and became a box office hit of all time and was really elegant and with really good action and everyone knows all the lines by heart and did you know that Matrix is an anagram for meta, sir?
In his spare time, Neo runs around resting on the treadmill, or sits in a café looking longingly at married tree grandmother Tiffany (Carrie-Anne Moss), who is confusingly similar to his old flame Trinity. Yes, it also goes to therapy. Neo lost control of reality. He has vivid memories of everything that happened in the previous films (he created, after all, the most GENIAL computer game series in the world based on it), and still knows deep down that this world is not real, but can be convinced that everything is illusions psychotic; He recently tried to get off the top of a skyscraper because he thought he could fly, which makes the arguments of wizard (Neil Patrick Harris) quite convincing. I won’t reveal much of the plot (because there is a lot), other than promising more combat, explosions, red and blue pills, octopus robots, post-apocalyptic polemics, redemption metaphors, precious monologues, and almost impenetrable explanations of what’s really going on.
They misunderstood it
Somehow, it’s cunning director Lana Wachowski (Sister Lilly was not involved in the film, and director duo The Wachowskis were reduced to the singular) to incorporate the Matrix phenomenon into her story. If nothing else takes the expectation board from the trumpets.
In a brainstorming session where Neo is somewhat pressured by contributors to make “The Matrix 4”, it is clear that Wachowski has a paradoxical relationship with both making a sequel and what has become a phenomenon (not least how the entire underlying premise has become a scripture for internet knights of wars The venomous crusader That handsome man from Trinity is called Chad – which in irresistible jargon means that irresistible alpha male who steals the ladies worthy of “misunderstood but good” boys – is probably no coincidence. Is the stalking and low conviction of Neo that he can “save” the Trinity without even realizing that it must be saved, so it doesn’t have to be a much mystical theme).
The meta perspective is mentioned more clearly in a long list where everyone in the drooling room has an explanation of what is the most important success factor for the series. The scene is about unbearably self-congratulatory, but also seems to be a dead warning to the viewer that a sequel that makes everyone happy is impossible.
But the fact that Wachowski is smart enough to realize it doesn’t mean she doesn’t fall in love with seduction.
The result is a movie that tries to be too much at once. Although there are many decent ideas here, hardly any of them have room to breathe or open up, they are thrown into thin air wrapped in three layers of technical metaphysical chatter. No matter how much pathetic the movie uses to promote itself at least as much as the original movie: it doesn’t come from the pervasive claims that we really want to be inside the Matrix (social media, anyone?), these have become relatively truth and facts (fake news, i.e. Person?) etc., is not close to having the same existential philosophical effect of shadows on a cave wall in a relatively simple plot resembling the cave of the original.
It would have been good if it didn’t affect the movie too much, but the lack of focus seeps into the plot as well. Instead of expanding their world by narrowing it down to a fast-paced, straightforward action a la “Mad Max: Fury Road,” “The Matrix Resurrections” disappears into its own rabbit hole of serial legends similar to the recent Star The Wars movie. By all means, great to be back, especially since Reeves and Moss deliver the goods. But who wants what, who knows what or is at what level of consciousness, where the battle lines are drawn, what is at stake, what the height of the fall is, etc. is sometimes frustratingly told. Real motivation and establishing real relationships are often replaced by little self-referential flashbacks, which are often cast as shadows on the scenography. Sometimes it works, but more often than not it doesn’t.
But even that would have been on the inside if the movie had at least had the same elegance and adrenaline as the original. “The Matrix: Resurrection” explains which of the siblings bears the primary responsibility for the action scenes. It’s a little stingy and sad that the fight scenes look less lively and the action sequences are more chaotic and confusing than a movie made 22 years ago.
The film’s failure to create a single, new iconic idea taking hold in popular culture is also perhaps more understandable, given how contented it is to stand and look at the shadows on the wall cast by the immutable original.
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