![]() And, thanks to the advancements in technology since the original trilogy was released, Resurrections is a grander visual spectacle than we’ve previously seen in the franchise.Īs marvelous as Resurrections’ fight sequences are to look at, however, they play things safe from a viewing experience. Battles are tense, frenetic affairs with plenty of Bullet Time-esque scenes and gravity-defying set-pieces. The original trilogy is renowned for reinventing combat sequences in the movie business, and Resurrections does a stellar job of replicating its predecessors’ formula. While The Matrix Resurrections struggles to find the right footing for its self-referential elements, the same can’t be said for its action. It’s the type of eye-rolling and groan-inducing story beat that adds nothing to proceedings, and feels so misplaced that it’s bound to momentarily distract viewers from what’s happening on the screen. But, while such self-awareness can arguably be overlooked in a family-friendly flick, it has no business being in a movie series like The Matrix. has utilized this kind of fourth wall-breaking in previous films, including Space Jam: A New Legacy. unashamedly referenced by another individual. Meanwhile, another incident sees Warner Bros. Side characters – Neo’s co-workers, for the most part – begin name-dropping The Matrix franchise at will. The Matrix itself is used as the inspiration for the game that Neo is helping to create – an intriguing if slightly surreal plot mechanic that ties Resurrections to the franchise’s other movies.īut the film’s self-referential elements don’t stop there. ![]() The constant callbacks and references to previous Matrix movies eventually become tiresome, but they’re nothing compared to the overbearing self-awareness that’s employed at various points. Where Resurrections gets too clever for its own good, though, is in its propensity to lean heavily into meta territory. This dualism largely works well, especially when it’s used in combination to show the blurred lines between what Neo thinks is real and what’s actually real, and the existential crisis he endures until his mind is freed in the film’s second act. The effect is two-fold: to emphasize that the Matrix is an ever-evolving, cyclical world, and to give us a curious insight into how Neo’s mind operates in this ‘new reality’. So The Matrix Resurrections isn’t shy about reminding us of what came before – and not only through its main plot points, but also from a visual perspective.įootage from the previous three films is regularly (and smartly) spliced together with Resurrections’ new footage, lending an unsettling and illusory feel to proceedings. And, as in the series’ first movie, he must unlock his powers and help to overthrow the Matrix’s current Machiavellian overlord. Again, Neo must make a choice between learning the truth about the Matrix (take the red pill), or going back to his life as a video game programmer (take the blue pill). Once more, Neo and company must tackle a foe that has supposedly enslaved humanity in the Matrix – much as the machines did in the original film. If the final part of that plot sounds familiar, it’s because it’s basically the synopsis for 1999’s The Matrix movie. And, when his former mentor Morpheus (Yahya Abdul-Mateen II) suddenly re-enters his life, Neo is forced to confront reality: the Matrix is real, and its band of rebels need his help. But a chance encounter with a woman (Carrie-Anne Moss), who bears a striking resemblance to his deceased lover Trinity, causes Neo’s world to fully unravel.
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