The Wachowski siblings approached producer Joel Silver (Die Hard) with a manuscript that was considered unconventional. Having not directed any prior films, their ability to execute the project was questioned. However, Silver recognized potential and offered them the opportunity to direct a lower-budget film to demonstrate their capabilities. This led to the 1995 thriller, Bound. While not a blockbuster, Bound showcased the siblings’ directing potential, paving the way for their sci-fi epic, The Matrix.
The Matrix debuted in 1999, generating considerable buzz and discussion regarding its complex narrative and groundbreaking action sequences. Upon its DVD release, I experienced the film for the first time and was captivated by its story, visuals, and action (which I found quite comprehensible, noting its allegorical parallels). Bullet-time became a cultural phenomenon, influencing numerous filmmakers. The Max Payne game, for example, integrated bullet-time mechanics as a core element. Four years later, The Matrix Reloaded and The Matrix Revolutions were released within six months of each other, amidst immense anticipation. However, the sequels were critically disappointing. My experience with Reloaded was particularly underwhelming. I opted to view Revolutions on DVD several years later, and found it even less satisfying. Consequently, I chose to disregard them. The franchise remained dormant for nearly two decades, until the announcement of a fourth film, directed solely by Lana Wachowski, with Reeves and Moss reprising their roles. Approaching with cautious optimism, I viewed The Matrix Resurrections.
Thomas Anderson (Keanu Reeves) is a game designer tasked with developing a fourth installment to his successful game, The Matrix. Plagued by anxiety following a prior suicide attempt, he regularly consults with his psychologist (Neil Patrick Harris). He experiences a persistent sense of unreality and is drawn to Tiffany (Carrie-Ann Moss), a woman he frequents at a local café. Events culminate, blurring the lines between past and present, irrevocably altering his reality.
The Matrix Resurrections distinguishes itself as the strongest Matrix sequel, echoing the design sensibilities of the original film. The narrative is intelligent and inventive, particularly the concept of The Matrix existing as a video game within The Matrix. The film exhibits meta-awareness while maintaining narrative integrity. While the action sequences are stylish, they adhere to established conventions rather than introducing novel elements. Keanu Reeves delivers an engaging performance as Neo, and the dynamic between his character and Carrie-Ann Moss’s character remains central to the film. The casting of new characters is commendable, with numerous references to prior installments.
However, certain aspects are less convincing. The justification for the machines preserving Neo and Trinity’s physical bodies lacks logical coherence. The provided “explanation” for their necessity within the Matrix is tenuous. For those unfamiliar with the previous sequels SPOILER ALERT, Neo and Trinity perish at the conclusion of the third film, and Neo loses his eyesight. The machines, inexplicably, preserve Neo’s eyes, despite their apparent lack of utility within his pod. This feels like an attempt to reconcile narrative elements from the less successful sequels. Furthermore, the film’s runtime of two and a half hours is excessive, and would benefit from a reduction of approximately thirty minutes. Several extended sequences are marred by awkward dialogue and overwrought philosophical musings.
In conclusion, I recommend The Matrix Resurrections. Despite its imperfections, it evokes the sense of entertainment I experienced with the original film 22 years prior. I encourage viewers to see what is arguably the best Matrix sequel, and perhaps even anticipate further installments.
