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Matrix Unloaded
Warner Bros. Pictures presents
THE MATRIX RELOADED
Starring: Keanu Reeves, Laurence Fishburne
Directors/Writers: Andy Wachowski, Larry Wachowski
MPAA: R
Running Time: 138 minutes
Year: 2003 (in theatres now)
Rating: 4.6
The Matrix unloaded, really.
The great legend of The One saving the Earth is ruthlessly twisted in The Matrix Reloaded, an orgy of computer graphics and fight sequences. This film, without shame, disgraces the original to monumental proportions.
Unfortunately, this can't be avoided; it's a sequel. At least the Wachowski brothers left four years open for people to enjoy The Matrix without the exploitation of the one thing that makes it a special picture: Imagination - the source of The Matrix's magic. The estranged city of Zion, the significance of the Oracle, the mystical love between Neo and Trinity - as Reloaded focuses on these things, they become less magical, and thus, less interesting.
Reloaded shows us Zion - an underground hole looking more like something out of Star Wars: Episode II. My eyebrows often crossed during these sequences, I am forced to accept that this is the same Zion I envisioned the great Morpheus coming from. Morpheus screams to its citizens that we are now fighting a war after which the entire city dances. Here, Zion looks creepingly sleazy; dancers expose their body through sweat-drenched clothing. The Wachowski brothers have painted an ill face on what used to be a symbol of purity; the survival and freedom of humanity.
Meanwhile, Neo and Trinity make passionate love in slow motion along with cheesy breakbeat techno music. Here, the film attempts to make their love seem epic. It doesn't work nor is it necessary. We know they love each other and we know that they have and will continue to express that love through sexual conduct. This is a tiresome scene.
Eventually, Reloaded gets on with it and we meet the Oracle again. She explains to Neo that programs within the Matrix often die and instead of accept deletion choose to live inside the Matrix, without actually being part of it. One of these programs is Smith, previously known as Agent Smith. He can duplicate himself now. This new interesting aspect is immediately exploited with a 10-minute long fight sequence. Why does Neo fight the infinite copies of Smith? Because he can. Also because the more minutes of fighting in the movie there are, the more violence-frenzy audiences will be attracted to it.
A plot develops - the Oracle tells Neo he must find the Key Maker. So, Neo, Morpheus, and Trinity (who I will refer to as Team Zion) venture out to find the Key Maker.
So they find the Key Maker through a pompous Matrix-literate frenchman, who, after much talking and hacking an orgasm onto a random woman (they show an actual explosion here), does not let Team Zion take him. While Team Zion is disappointed for a few moments, the frenchman's wife, Persephone, a pointless appearance by Monica Bellucci, says if Neo kisses her, she'll lead Team Zion to the Key Maker. Trinity gets really mad. God, this is stupid.
Eventually, the frenchman finds out and Neo spends another ten minutes fighting to kill the frenchman's henchmen. These are well-choreographed fight sequences but this was where I just got bored. Yeah, okay, Neo can't die and kills anyone who tries to fight him. Get on with the movie. (Be careful what you wish for.)
After a thirty minute highway chase scene, the Key Maker informs Team Zion of a special door he must unlock for Neo. After some planning, and more fighting with agents and Smith, the Key Maker brings Neo to it. The movie actually pokes fun at itself - the Key Maker is blasted with bullets and his dying words are "I was meant to die right now." He might well have also said, "It's just easier, scriptwise."
Inside the special door is the Architect - the creator of the Matrix. Neo stands there, without fidgeting (I was), and listens to the Architect explain, in a 10-minute speech, that The One is just a program inside the Matrix that's meant to find the Architect and choose to let the machines destroy Zion and build a new Matrix. This is the scene where everything that made The Matrix an inspiring story is flushed into oblivion.
I talked a lot about Reloaded with my friends; it does cause discussion. But we weren't talking about Reloaded - we spoke of the events of the film, trying to make sense of them, with a shred of hope that we'll still be able to watch The Matrix without having the magic of it spoiled by the extra layers of fat Reloaded has added. Aside to this disgrace, it's unfittingly darker, more violent, less playful, and most importantly, less inspired.
I sat to the end of the credits where an ad for The Matrix Revolutions, the final installment (hopefully) in the trilogy, is revealed. Frankly, I fail to see what exactly the Wachowski brothers think is worth concluding.
Ryan McInally, May 16 2003
THE MATRIX RELOADED
Starring: Keanu Reeves, Laurence Fishburne
Directors/Writers: Andy Wachowski, Larry Wachowski
MPAA: R
Running Time: 138 minutes
Year: 2003 (in theatres now)
Rating: 4.6
The Matrix unloaded, really.
The great legend of The One saving the Earth is ruthlessly twisted in The Matrix Reloaded, an orgy of computer graphics and fight sequences. This film, without shame, disgraces the original to monumental proportions.
Unfortunately, this can't be avoided; it's a sequel. At least the Wachowski brothers left four years open for people to enjoy The Matrix without the exploitation of the one thing that makes it a special picture: Imagination - the source of The Matrix's magic. The estranged city of Zion, the significance of the Oracle, the mystical love between Neo and Trinity - as Reloaded focuses on these things, they become less magical, and thus, less interesting.
Reloaded shows us Zion - an underground hole looking more like something out of Star Wars: Episode II. My eyebrows often crossed during these sequences, I am forced to accept that this is the same Zion I envisioned the great Morpheus coming from. Morpheus screams to its citizens that we are now fighting a war after which the entire city dances. Here, Zion looks creepingly sleazy; dancers expose their body through sweat-drenched clothing. The Wachowski brothers have painted an ill face on what used to be a symbol of purity; the survival and freedom of humanity.
Meanwhile, Neo and Trinity make passionate love in slow motion along with cheesy breakbeat techno music. Here, the film attempts to make their love seem epic. It doesn't work nor is it necessary. We know they love each other and we know that they have and will continue to express that love through sexual conduct. This is a tiresome scene.
Eventually, Reloaded gets on with it and we meet the Oracle again. She explains to Neo that programs within the Matrix often die and instead of accept deletion choose to live inside the Matrix, without actually being part of it. One of these programs is Smith, previously known as Agent Smith. He can duplicate himself now. This new interesting aspect is immediately exploited with a 10-minute long fight sequence. Why does Neo fight the infinite copies of Smith? Because he can. Also because the more minutes of fighting in the movie there are, the more violence-frenzy audiences will be attracted to it.
A plot develops - the Oracle tells Neo he must find the Key Maker. So, Neo, Morpheus, and Trinity (who I will refer to as Team Zion) venture out to find the Key Maker.
So they find the Key Maker through a pompous Matrix-literate frenchman, who, after much talking and hacking an orgasm onto a random woman (they show an actual explosion here), does not let Team Zion take him. While Team Zion is disappointed for a few moments, the frenchman's wife, Persephone, a pointless appearance by Monica Bellucci, says if Neo kisses her, she'll lead Team Zion to the Key Maker. Trinity gets really mad. God, this is stupid.
Eventually, the frenchman finds out and Neo spends another ten minutes fighting to kill the frenchman's henchmen. These are well-choreographed fight sequences but this was where I just got bored. Yeah, okay, Neo can't die and kills anyone who tries to fight him. Get on with the movie. (Be careful what you wish for.)
After a thirty minute highway chase scene, the Key Maker informs Team Zion of a special door he must unlock for Neo. After some planning, and more fighting with agents and Smith, the Key Maker brings Neo to it. The movie actually pokes fun at itself - the Key Maker is blasted with bullets and his dying words are "I was meant to die right now." He might well have also said, "It's just easier, scriptwise."
Inside the special door is the Architect - the creator of the Matrix. Neo stands there, without fidgeting (I was), and listens to the Architect explain, in a 10-minute speech, that The One is just a program inside the Matrix that's meant to find the Architect and choose to let the machines destroy Zion and build a new Matrix. This is the scene where everything that made The Matrix an inspiring story is flushed into oblivion.
I talked a lot about Reloaded with my friends; it does cause discussion. But we weren't talking about Reloaded - we spoke of the events of the film, trying to make sense of them, with a shred of hope that we'll still be able to watch The Matrix without having the magic of it spoiled by the extra layers of fat Reloaded has added. Aside to this disgrace, it's unfittingly darker, more violent, less playful, and most importantly, less inspired.
I sat to the end of the credits where an ad for The Matrix Revolutions, the final installment (hopefully) in the trilogy, is revealed. Frankly, I fail to see what exactly the Wachowski brothers think is worth concluding.
Ryan McInally, May 16 2003
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