In the opening third of your cash-in sequel, can you really get away with “selling out” simply by revolving around a mockery of studio pressure? That’s quite unlikely.

Certainly, this fourth film in the Matrix Resurrections series does not provide conclusive proof in favor of the plaintiff. For the first time, Lana Wachowski directs and co-writes with Aleksandar Hamon and David Mitchell, writers.

Starting out with its deftly wacky opening, the film slowly but agonizingly transitions into something more recognizable. Something that’s a little more specific.

When asked about her absence, Lily Wachowski bemoaned her lack of enthusiasm about returning to familiar ground. It’s not like Lana has any reservations about doing what she’s doing, and she doesn’t even try to explain why.

Compared to 1999’s original Matrix Resurrections is a significantly more current trend setter in the nostalgia-drenched present. Space Jam, Halloween, and Ghostbusters have all done the same thing for cheap wins, and this one preempts the optimism of upcoming films like Top Gun and Legally Blonde. As a result, the foundations of Resurrections are nearly identical to those envisioned in 1994.

Reeves stars as Thomas A. Anderson, a tech-savvy hero compelled to rethink life after being led down a rabbit hole by a mystery woman (Jessica Hawick’s Bugs). Morpheus (inexplicably, albeit well, recast as Yahya Abdul-Mateen II) once again presents him with an option, which he accepts. Of sure, if there is a choice. Take the blue pill and live in blissful ignorance for the rest of your days. Taking the “red pill” alters everything.


Two considerations prevent the Resurrection setup from collapsing under the weight of Deja vu. There is a strange contemplation of the passing of time that permeates the entire film. Reloaded and Revolutions were released so quickly that there was no noticeable transition between the two. In this scenario, perspective is born through the act of letting go and letting go. Keanu Reeves shines as John Wick, a guy left behind in a more carefree period. Maybe he’s just tired. Anderson’s posture and facial expression may also indicate his weariness with life. The hazards of middle age, and then seniority, are examined in increasingly satisfying ways. This franchise has always valued change. Although touted as a “action thriller,” Matrix Resurrections is more of a love story.

Another one of Matrix Resurrections‘ saving graces is its filmic meta-relationship with the films that came before it. When we first meet Anderson, he is most recognized for creating the ‘Matrix’ trilogy. Despite Anderson’s best efforts, ‘our beloved parent business Warner Bros. will make a sequel to the trilogy’. So be it. Clips from the first three films are intercut with Carrie-Anne Moss’ Trinity action figure on Anderson’s desk. Simulate is the name of the espresso establishment where real-life Moss enjoys his daily cortados. However, in this instance, she goes by the name Tiffany, a homage to Blake Edwards’ Breakfast, which is also a work of fiction, and she’s accompanied by her children and husband. Chad Stahelski, Reeves’ stunt duplicate, plays him.


In addition to Abdul-flamboyance, Mateen’s Jonathan Groff steals the show as a hip Agent Smith. Laurence Fishburne or Hugo Weaving have more gravity. It’s a real issue with Resurrections, when nothing feels important. It’s a shame that Moss isn’t featured earlier in the film, as she’s a great fit for the role. In the version with Trinity leading from the start, Hawick is a great foil for Reeves.

Rarely do Resurrections’ effects dazzle the sight, and nothing here compares to what came before. Odd, given the heritage. After Neo takes his medication, there’s little left to surprise.

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