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They don’t come up with anything new, but it’s bigger, louder, and mighty impressive, even if the dialogue sounds more and more like a preprogrammed video game.
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The Wachowskis push the potential of software to the limits. Neo discovers an entire subculture of rogue programs with their own agendas, including Agent Smith, who clones himself into an army of slow speaking, blank faced golems with a single-minded purpose).
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The Wachowski Brothers get even headier in The Matrix Reloaded (2003), where “Know thyself” is taken to the level of computer code and chaos theory is introduced to the well-ordered digital universe. Carrie-Anne Moss is the lithe, leather-clad action Fury Trinity and Hugo Weaving the cyber-cop Agent Smith. They’ve obviously put a lot of thought into the look and feel of the film and the result is a consistently handsome, often quite elegant action movie.Īs for the heady philosophy and rules of engagement, they blur in the frenzy of bullets and kung fu fighting while the talky, pseudo-philosophical center sags for lack of action on repeat viewings, but the sheer kinetic energy and visual inventiveness drives the film beyond logic. A helicopter crashes into a great glass skyscraper and shockwaves roll across the surface like a pulse across a sea of silver. With a nod to John Woo they stage a bullet-riddled showdown that lovingly records every spent shell that spills to the ground in slow motion. Morpheus, playing Obi-Wan Kenobi to Neo’s Luke Skywalker, trains his protégé in the virtual world they become kung-fu masters in a cyber-dojo in a marvelous sequence which combines the ballet elegance and furious moves of Hong Kong movies (courtesy fight choreographer Yuen Wo Ping, a martial arts maestro and former Jackie Chan director) with computer effects and tricked-up camerawork.Ĭlearly the Wachowskis are more interested in their cinematic toys than their story. The Wachowskis proceed to turn the world as we know it into a virtual reality landscape with a 20 th century tech-noir look (lit with a sickly green hue, like the glow of an old IBM computer screen) and the physics of a video game. Morpheus is a rebel leader in the post-apocalyptic physical world of the future who staged guerrilla forays into the virtual world of the computer, and Neo is the hope the future, the answer to a prophecy: Keanu Reeves is the cyber-messiah. Simply put, life is a virtual reality dream controlled by a master artificial intelligence, a computer ruling the world in the conspiracy to end all conspiracies.
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You have to see it for yourself.”Īctually you can explain what it is, it’s just not as much fun as showing off images borrowed from Metropolis and covers of “Amazing Stories” magazines.
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“Unfortunately no one can be told what the Matrix is. All of this nightmarish confluence revolves around the forbidden question: “What is the Matrix?” Cyber guru Morpheus (a bald, commanding Larry Fishburne, his calm tenor carrying an edge of danger) offers Neo an answer. Black leather clad computer outlaw Trinity (Carrie-Anne Moss) lures him to the hacker underground, dangling the promise of “the truth” before disappearing. As if to prove him right, mysterious phone callers whisper enigmatic dictums and super-agents in black glasses and nondescript suits steal his face and torment him with a giant crawfish-like insect that crawls inside his belly. Keanu Reeves, man-boy of American cinema, is Neo, a techno-geek computer hacker nagged by the feeling that something is seriously wrong. Using the coolest cutting edge digital toys of their time, create the most stylish, inventive, kinetically dynamic computer game we’d ever seen at the movies. Filmmakers and screenwriters Lilly and Lana Wachowski (formerly Andy and Larry) draw from comic books, Hong Kong action films, cyber-punk fiction, video games, and every American science fiction conspiracy and tech noir thriller from Colossus: The Forbin Project to Tron to The Terminator.
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Image Tron as a Greek Myth, or Sim City as an action movie grounded in existential spiritualism. Which is not to say that it is completely original. The Matrix (1999) has become such a touchstone of American pop culture-referenced, copied, parodied, and parroted)-that it’s hard to remember just how new and different and distinctive it was when it debuted in 1999.