The Matrix Resurrections
Matrix Resurrections
Matrix Resurrections
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Spieledesigner Thomas A. Anderson (Keanu Reeves) wurde mit seinem Game "Matrix" berühmt. Das Spiel ist ein Klassiker, Anderson nur noch ein Schatten seiner selbst. Tatsächlich jagen ihn dunkle Schatten, Albträume wie jener von der Motorradfahrerin Trinity (Carrie-Anne Moss), die in Lederkluft mit schmallippigen Agenten kämpft. Merkwürdig: Eine Frau aus seinem Frühstückscafé ähnelt dieser Trinity aufs Haar. Ihr Name: Tiffany. Sein Analytiker gibt Anderson blaue Pillen gegen diese Visionen. Dann erschüttern die Rebellen Bugs (Jessica Henwick) und Morpheus (Yahya Abdul-Mateen II) seinen Glauben an die Realität ... (Sky Cinema)
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That “meta” introduction was almost physically painful. Not because I have anything against meta-movies, but because I simply found the self-reflection banal, shallow and unimaginative. There’s nothing there that cheaper movies wouldn’t have made more interesting in the past. And I find it utterly embarrassing of Wachowski to smuggle such gibberish into the sequel of a Hollywood film after twenty years. Did they hold a gun to her head to make it? Fortunately, after a few minutes, it switches from this painful despair to the expected action sci-fi, which I like in concept, but which at the same time toils in many ways and doesn't make use of its potential and the various over-the-top themes that deserve elaboration. It seems that the main driving motive behind the film is a kind of nostalgia and a desire to give its heroes the well-deserved happy ending that they were not afforded in the original trilogy. By the way, the reviews about the weak action did not lie, there was really nothing that could make you jump from your seat. Although I found a couple of scenes to be relatively imaginative, the audiovisual experience of the fourth Matrix is rather sterile in the end, something that stands out especially when compared to the various cuts to the original films – each of those scenes has a more interesting "face" of its own than all the newly shot footage put together.
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The new Matrix first promises a lot of interesting and new ideas, and potentially an original development of the main character and the whole world, only to turn into a slightly sad film in the middle by a director who is not capable of executing any of these ideas to the end, and only manages to create a not very imaginative variation of what we have already seen. What makes it worse is the whole film vehemently tries to present itself as something innovative, ironic, and daring. But that desire to mock Hollywood blockbusters and the obsession with sequels, while also wanting to be a part of it all and grab a piece of the box office cake, ultimately appears somewhat awkward.
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I hate this cashgrab movie! The first blockbuster of the year where I physically suffered to finish watching it. The Matrix trilogy was revolutionary, but I'm not as die-hard a fan as others, so from the new Matrix I expected at least an entertaining action film, and what I got was an insanely talky romantic crap with cheap effects, boring actors, uninteresting dialogue, a convoluted plot where I was downright lost, a slapdash pace, and damn painfully dull and uninteresting PG-13 action – it was a shock. Just about everything was wrong here, and there wasn't a single scene that I liked in the least, which for a property like this is a big bad. Jupiter Matrix Fail. A downright offensive movie. Story 2/5, Action 1/5, Humor 0/5, Violence 0/5, Fun 2/5 Music 3/5, Visuals 3/5, Atmosphere 2/5, Suspense 1/5, Emotion 0/5, Actors 3/5. 3/10.
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Sense8 Reloaded. How do you evaluate a film that didn't meet any expectations, contains a lot of mistakes, and yet I would rather watch it again than Matrix Revolutions? I'm sticking with a slightly sheepish three stars because the first half is genuinely fantastic. Many parallels, clichés turned upside down, (bitter) commentary on pop culture and the dream factory itself – all intertwined with Keanu Reeves looking even more broken than usual. It's something different than anyone expected, and it works in almost every aspect. Unfortunately, doubts arise with the more action-oriented side of things, while a surprising and, for me, unwanted cameo from the Merovingian is accompanied purely by awkwardness. The entire staircase scene is poorly done, and the only way to overcome it is through Jonathan Groff, who for some reason is in this film and elevates it with each narcissistic performance. Lana Wachowski deserves respect for her initial vision, for the clear desire to bring back something/someone who cannot return, and for faithfully returning to the characters and storylines of all the films, not just the first one. It might anger many people, but even though it involves characters that I didn't need to see again, it concludes something that evidently had been and still is left open within it. Nostalgia is much stronger than genuine feelings, memories overshadow the true face of the film. I already have a great fondness for The Matrix Resurrections, but unfortunately it is beleaguered by problematic visual aspects, a fragmented Morpheus with one strange scene after another, and a strangely rushed ending that suddenly needed to pick up the pace after two and a half hours.
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The fourth Matrix comes with the ambition to show what has happened in all of the worlds since Neo’s seemingly last breath, i.e. not just the cinematic worlds inside The Matrix and the Matrix, but also the filmmaking and audience worlds outside of it. However, what the new film presents inadvertently proves to be much more thought-provoking than what it literally presents in particular instances of dialogue and scenes. Much has been made of how Lana, with her presumed absolute creative control, took the liberty of making a cheeky joke at the expense of Hollywood and its contemporary trends and pursuit of viewer comfort. Despite all of that, however, The Matrix Resurrections is not the rumoured anomaly, but in the end it largely remains merely another manifestation of the system. The greatest expression of creative freedom within the Matrix franchise remains the third instalment, which, in spite of everything, follows its own lighted path of techno-new age ethos and aesthetics in the style of The Watchtower. Conversely, the new Matrix notably ignores all of these levels. Instead of spirituality and philosophy, it dawdles over purely secular issues, and virtual ones at that. Whereas for some viewers this will be a confirmation of the fall of today’s world from the heights of thought into a self-indulgent presentation of its own would-be sophistication, from a step farther way, the effort to awaken that world may appear. Religionist interpreters of the original trilogy, according to whom its individual episodes correspond to the stages of awakening, contradiction and enlightenment, may see this as a step backward, whereby the franchise returns from nirvana to earthly matters, back to the marketing-heralded beginning. That may just be exactly what the world needs today. Not to accept an old messiah from a long-ago age, but to understand that the current stage of society is still not perfect, that true progress – technical and intellectual – never ends or, in the better case, we are still only at the beginning, only with a starting position that has shifted. It’s a similar case with everything that viewers expect from the new Matrix, at least in the sense of our expectations and, conversely, what Lana Wachowski is aiming for. Those who associate the three preceding instalments with innovation or progress in the area of action scenes will be disappointed or utterly pissed off by the confrontational ridicule that the fourth film offers. However, those who expect the Wachowskis’ work to go in new directions (through assimilation of the progress made by others before them) will not be disappointed. The Wachowskis have long been interested not in action scenes, but in the possibilities of narrative and the depiction of movement, and ideally the combination of both. Therefore, it may come as a surprise that The Matrix Resurrections makes very little use of Reeves’s impressive physical skills from years of working on the John Wick franchise. Some of the action scenes even feel completely haphazard. From the overall perspective, however, it can rather be said that they correspond to Neo’s gradual recollection of his abilities and it’s no longer about making the action an attraction, but they have already done that. The film is even more fascinating in the key dialogue scene and the variations thereof spread out over time and space, where the revolution in means of expression takes place. In many respects, the fourth Matrix is an even more inconsistent and, in its individual aspects, problematic work than the Wachowskis’ projects that immediately preceded it. But, again, it’s true that it offers something new, unseen before, fascinating and thought-provoking.
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An entertaining and surprisingly current coronavirus continuation. Reaction to the third Matrix will depend heavily on how much the viewers took the original trilogy, because the Wachowski sister keeps on making unhidden fun out of it from beginning to end. It mocks human sheep who want just to get on an enjoy life: why won’t the powers that be just leave them alone? It also ridicules the fact that this sequel was even being made, admitting that it was only for the money. Oh, and for love, love too. The special effects and action sequences are only mediocre, but the fights are at least quite easy to follow. All the revolutionary things that were so jaw-dropping in the first movie are now simply ordinary, expected, or else made fun of. The second half of this picture is rather headless chicken and a lot of things from it need explaining. I thought this movie lacked an overall message, but on the other hand I quite enjoyed watching this self-reflective or even cynical period to the series.
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Nummer vier hat ein relativ interessantes Verhältnis zwischen altbekannten Gesichtern und Neulingen (z. B. Christina Ricci oder Priyanka Chopra) in der Besetzung. Und dieses Verhältnis entspricht ziemlich genau der Entwicklung der gesamten Filmreihe Matrix. Im Zeitalter der gehobenen Kinosaga ist The Matrix Resurrections ein nostalgischer Genre-Mix, bei dem es schön ist, ein wenig von diesem Zuschauerkomfort zu erleben. Bislang hat die letzte Folge die gesamte Tetralogie in meinen Augen rehabilitiert, und der schale Nachgeschmack von Folge zwei und drei verblasst langsam.
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Maybe in a different world or reality, where the previous three films didn't exist, it would be a wow modern and cutting-edge blockbuster with all the hallmarks that are so hot today, or that Hollywood filmmakers want to make hot. However, given the existence of the original trilogy, the fourth film is half a mockery and half a slap in the face to the entire Matrix universe with its storyline. Basically three films rolled into one completely unnecessary reboot 20 years apart – how refreshing. I hope Grandpa and Grandma won't do it again after twenty years – there's always a reason why, it's a love story.
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A smart, entertaining, daring, surprising film that, like Nolan's Tenet, is begging for a second viewing, a more thorough examination, and therefore more audience enjoyment. And I'm happy to oblige because Matrix: Ressurections is not a redundant film at all, but more than an amazing conclusion to a great trilogy. On the one hand, it mocks the audience, on the other, it gives them exactly what they want (even if they didn’t know it). Lana Wachowski teamed up again with David Mitchell, who I think is an absolutely brilliant multi-genre writer, to write the screenplay, and the result is such a joy to watch, not just because of the production design, but because of everything that happens in the film. From the cast, apart from the amazing Keanu Reeves (no, he's not playing John Wick, although he looks it, he's just Neo) and Carrie-Anne Moss, I would like to highlight Jessica Henwick.
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Für mich ist es eigentlich ähnlich wie Mortal Kombat letztes Jahr, ein bisheriges "guilty pleasure" des Jahres. Als eigenständiger Film steht Matrix 4 in meinen Augen nicht besonders gut da und kaum jemand wird ihn ohne Kenntnis bestimmter Realitäten und Sinn für Ironie genießen können. Trotzdem habe ich mich im Kino wirklich schadenfroh amüsiert und gestaunt, wie dieses Drehbuch grünes Licht vom Studio bekommen konnte. Eigentlich erinnerte es mich ein bisschen an die dritte Staffel von Twin Peaks, wo David Lynch wie von Sinnen in seiner eigenen Art meta war, beliebte Charaktere die meiste Zeit in der Hibernation ließ und dabei die Hälfte der Zuschauer verärgerte. Man könnte es wahrscheinlich so zusammenfassen: gehört man zu denen, die auf Matrix 4 gewartet und sich danach gesehnt haben, wird man wahrscheinlich enttäuscht sein wie noch nie. Gehört man zu denen, die das Original als begrenztes Meisterwerk betrachten und kein Interesse am Fortsetzung hatten, bekommen diese ein unterhaltsames und interessantes Experiment. So in ungefähr.
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Im Rahmen der digitalen Natur der gesamten Serie macht es weitgehend Sinn, den neuen Teil nach einer achtzehnjährigen Pause als "System-Neustart" zu betrachten und ihn mit einem modernen Upgrade zu ergänzen, das den Film sowohl in Bezug auf die Gesamtatmosphäre als auch formal wesentlich von den früheren Teilen unterscheidet. Die endgültige Umsetzung wirft jedoch viele Zweifel auf. Die vierte Matrix wird zweifelsohne widersprüchlich aufgenommen, weil die Gründe für seine Existenz vor allem daraus resultieren, dass es weniger ein guter Film als vielmehr ein erzählerisch interessanter und filmisch mutiger Film ist, der in Bezug auf Sequels bekannter Filmserien sehr unkonventionell ist und sich in seiner Herangehensweise an sich selbst und das gesamte Matrix-Phänomen, dem es folgt, praktisch einzigartig ist. Auf der einen Seite enttäuscht der Film in seiner bedauerlichen Umsetzung von Actionszenen, seine Beziehungslinie zu den Hauptfiguren der Originaltrilogie ist emotional überraschend leer und die weitere Entwicklung der fiktiven Mythologie wirkt zerstreut und unvollständig (einschließlich einiger Sackgassen). Auf der anderen Seite kombiniert er jedoch auch recht unterhaltsam viele erzählerische Stile, von spielerischem und ironischem meta-bewusstem Ansatz über nostalgische Erinnerungen und tendenziöse Action-Routine bis hin zu Science-Fiction-Romanzen, was es ermöglicht, Matrix Resurrections auch als konzeptionellen Film zu betrachten, der allmählich verschiedene stilistisch unterschiedliche Beta-Versionen präsentiert, wie man an die Matrix-Trilogie anknüpfen könnte, und sie zu einer erzählerischen Einheit verbindet. Daher kann er nicht unbedingt wegen seiner durchweg veränderlichen und diskutablen Qualität empfohlen werden, sondern wegen seiner bemerkenswerten und anregenden narrativen Form.
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A pathetic and lackluster cashgrab that spends a third of its running time reminiscing about previous installments, another third illogically fumbling with a confused Reeves, and the rest with attempts at spastic jokes, inept attempts at cool scenes (Harris' speech about bullet time was sooooo lame), and action that desperately lacks inventiveness. It's naive the way Wachowski tries to dig characters out of their graves who are now being portrayed by different actors (because many of the originals, thankfully, refused). The world they’ve built has some perspective and potential, but it's all for naught when the script uses DOOM-like cheats to achieve its goals. I miss the elegance, tension, logic, and awesome philosophy of reality vs. the virtual world incorporated into the originals. What the hell went wrong with "Mr. Anderson"? I fell asleep out of boredom.
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