“The Matrix Resurrections” is an upcoming documentary that explores the effects of the film “The Matrix.” The dialogue between creators and critics highlights a longstanding debate about whether or not “matrixity,” which includes decontextualization, hyperreality, virtual worlds and other concepts from both the original series as well as its sequels.
The “budget matrix resurrections” is a meta swing for the fences. It’s about the film industry, but it’s also about the real world. The film industry has been around for over 100 years and has brought in billions of dollars to Hollywood.
Lana Wachowski has returned to the Matrix in The Matrix Resurrections, the fourth installment in the popular science fiction series, over twenty years after the previous film.
As a huge fan of these films, particularly the underappreciated sequels (which I talked about lately on this website), this picture became one of my most awaited films of all time the minute it was announced. With Lana Wachowski returning to co-write and direct, I was even more delighted and hoping that at least one of the Wachowskis would be at the helm. I’ve now watched The Matrix Resurrections three times, and I’m thrilled to say that it’s an amazing, timely return to this universe and these people. In a nutshell, I enjoyed it.
The Matrix Resurrections starts with Bugs (Jessica Henwick in a potentially breakout performance), the captain of the Mnemosyne, who believes Neo (Keanu Reeves) is still alive despite his death at the conclusion of the last film and has been scouring the Matrix for him. Of course, she is correct, as the movie immediately places him in a world where the Matrix has been rebooted once again. He’s back in the position of Thomas Anderson, and he’s trapped in the system’s control system without any awareness of the events of sixty years before. (Specifically, the first three films’ incidents.) The caveat is that he is intimately aware with the events of the trilogy, as his role in this new Matrix society is that of a video game creator who built an enormously popular trilogy of games dubbed The Matrix, which enables players to relive the events of the first three films (or, in their case, world history). It gets crazier when he encounters Tiffany (a.k.a. Trinity, portrayed by Carrie-Anne Moss once again) at the neighborhood coffee shop Simulatte on a daily basis and they have a vague impression they know one other. Thomas has a continual sense that there is more to reality than what is being given to him, and his Analyst (Neil Patrick Harris) tells him that these are just delusions, and that he must take his blue pill medicine as prescribed to keep the delusions at bay. When Thomas’s employer, Smith (Jonathan Groff), informs him that the parent company of their developer, Warner Bros. is a studio that produces films., has asked them to build a fourth Matrix game, the barriers between truth and imagination begin to blur.
My film is a LOT, as you can probably tell from this synopsis (which barely scratches the surface of the plot). As a result, the film has already sparked an exhausting amount of debate from the usual 35-to-40-year-old YouTubers who can’t imagine being challenged by the films they watch, preferring instead to cling to their Funko Pop Vinyls of characters from old films who left an impression on them back when they were actually capable of feeling something other than a deep-seated sense of self-loathing.
That’s not to argue The Matrix Resurrections is without problems; it has many, but accusations about “woke, SJW indoctrination” have become tiresome. All from losers who claim to be Matrix aficionados but couldn’t tell you which Matrix version the Merovingian was from without first consulting Google.
Warner Bros.
Many people have correctly pointed out that Lana Wachowski has created her own version of Wes Craven’s New Nightmare with The Matrix Resurrections, and I can’t think of a better film to compare it to because both films are about the cultural impact of a game-changing film and are in conversation with themselves about what that means and how they can tackle the daunting task of making a product of its time relevant to today once again. Wachowski’s approach is a provocative reflection on the present status of the blockbuster machine. Ironically, this film is making this case at a time when the most popular film in the world, Spider-Man: No Way Home, looks like it was produced on a conveyor belt, manufactured every step of the way to provoke audience yells of “I KNOW WHO THAT IS!!!” Both films have one thing in common: they both show the Hollywood system’s terrible and dangerous status. The difference between the two is that the former is well aware of it.
The Matrix Resurrections’ dizzyingly fantastic opening act is a meta deconstruction of striving to make art in a studio environment driven by what will be immediately recognized. The film’s wit is startling, but what truly strikes out is Wachowski’s visceral dissatisfaction with the present status of the studio system. It’s evident with phrases like “They want us to construct a fourth Matrix, and they’ve made it plain they’ll do it with or without us,” and “They want us to make a fourth Matrix, and they’ve made it clear they’ll do it with or without us.” Of course, they’re alluding to Warner Bros., which is mentioned throughout the film. While many of the story beats are repeated from the previous film, what is remarkable is how new and sarcastic it seems. Morpheus confronted Neo for the first time in a somber chamber with lightning in the first film, but this time it is in a toilet. In a film as self-aware as this one, it’s difficult to miss the point that current blockbuster films (especially those termed “Lega-sequels”) are practically the same exact flicks, but with less effort and inventiveness.
We are given information on what has transpired in the world in the sixty years after Neo rescued Zion after his eventual escape from the Matrix. This is where one of my major problems emerges, namely that much of Niobe’s (Jada Pinkett Smith) exposition seems undercooked. When Neo asks her what happened to Zion, she doesn’t provide a complete response. Morpheus is said to have effectively guided it to its demise, although no specifics are given. We’re also warned about a civil war amongst the robots, which is a fascinating science-fiction premise. However, we only receive one phrase in response to it. I think that both of these topics will be tackled in future films, but as it is now, it’s a touch lacking.
The action in this picture is a popular gripe, and although it isn’t on par with the original trilogy, there are some absolutely amazing action sequences scattered throughout. I also sincerely care about these people, which makes it simpler for me to get immersed in the events throughout the movie. When current blockbusters’ action is so aesthetically dull, a film with this much inventiveness sticks out.
Lana Wachowski is a tremendously sincere filmmaker, as seen by her whole oeuvre. This film seems like the natural culmination of the intellect behind films like Speed Racer, Cloud Atlas, and Sense8. She has always been interested in presenting the love tale between Neo and Trinity in the Matrix movie. It’s always been about love in these films. They’re about a love that transcends the systems of control that Neo and Trinity negotiate, both intentionally and unwittingly, throughout the novel. In a film this self-aware, it also finds time to be a truly honest narrative about two individuals who have a strong connection to one another, which, in my opinion, is rather extraordinary.
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“The Matrix Resurrections” is a meta swing for the fences. It’s a love story about love stories. Reference: is the matrix a love story.
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