The Matrix Reloaded
Originally Written: May 2003
“The Matrix is the world that has been pulled over your eyes to blind you from the truth.”
That line is spoken in 1999’s “The Matrix,” as Morpheus (Laurence Fishburne) offers Neo (Keanu Reeves) the truth of the world he lives in- that it’s simply a machine-developed virtual reality designed to keep humans satisfied as they’re used as an energy source for an all-powerful generation of AI robots. It’s perhaps the most fascinating line of the movie, because it can also be used to describe the cinematic/multimedia phenomenon created by writers/directors Lana and Lilly Wachowski, produced by action legend Joel Silver.
Now, I know people who really enjoy the first “Matrix” (some of them even receive these emails), and more power to them. Fact is, I’ve seen other films- before or after- that deal with the same ideas and concepts of reality and the symbiosis between man and machine more profoundly and provocatively. Alex Proyas’ “Dark City” (to be reviewed later this year) is the first that always comes to mind, followed by David Cronenberg’s “eXistenZ,” Paul Verhoeven’s “Total Recall,” Stanley Kubrick’s “2001: A Space Odyssey,” Mamoru Oshii’s “Ghost in the Shell,” and both Fritz Lang’s “Metropolis” and Rintaro’s Anime “Metropolis.” These films all combine inventiveness in style, intelligence in story, and ingeniousness in ideas that make them instantly memorable and- in many cases- brilliant.
Now, as you received last week, my opinion about “The Matrix” has changed some since I first saw it in 1999, due mostly to repeat viewers that reveal the film to be more watchable than initially thought (though it still rates a B-). I’m not going to regurgitate all I said last week, but simply the highlights- it loses steam after the truth behind The Matrix is revealed, the action is static and lifeless, and the film’s emotional core is cold and cynical. The premise behind “The Matrix” is fascinating and ripe with possibilities. Unfortunately, I’ve felt these possibilities have been better explored in the short “Animatrix” films that’ve been available online at the film’s website than they were in the movie, which starts as a compelling mystery, and end as a mindless action flick, all the while posing a “psuedo-philosophical” rhetoric that gets dreadfully boring when stretched out over two-plus hours of film.
And the point of all of this pseudo-intellectual posturing before I get on to “Reloaded?” Think of me as your Morpheus in the war against the hype and studio rhetoric that has “The Matrix Trilogy” as the end-all of “visionary” cinema- offering you a “truth” about what I’ve found going down the Wachowski’s “rabbit hole” of a universe. In this case, the blue pill is your own free will to think what you wish about “The Matrix” (the movie), and agree or not with me, continue to believe what you do about the movie, not allowing what I think to sway your opinion on the movie. This is not a bad option in itself; freedom of thought should be one of our most cherished attributes as human beings. And the red pill? The red pill is to allow my opinions of the universe of “The Matrix” to free your mind to the “missed” potential I see in the feature films, and explore further into the realm of science-fiction cinema that delves into the concepts of man-machine relationships and virtual realities to maybe find something you didn’t know you were missing. The choice of which pill you take (metaphorically-speaking), I leave to you. Remember, all I’ve ever intended to offer you in these reviews was my opinion- my own personal “truth”- when it comes to the films I’ve seen over the years in entertaining and enlightening fashion. You can disagree if you wish, or you can allow my opinion to open you up to different a way of seeing a film you may not have considered before. There is no “wrong” way to look at the films I review- there’s my opinion, there’s your opinion, and there’s millions of other opinions, all completely valid. Of course, my hope would be that you see the film as I do, but it doesn’t have to be that way.
So, now that that’s out of the way, onto the film at hand- “The Matrix Reloaded.” “Reloaded” picks up six months from where “The Matrix” left off. Neo (aka “The One”), Morpheus, and Trinity (Carrie-Anne Moss) are still leading the rebel humans who’ve been freed from the Matrix in a revolt against the machines that enslave humanity. I could go into more depth, but honestly, all that happens in this movie is too exhaustive to go into individually, so allow me to hit the high points. Neo has a dream of Trinity- the two are now a couple- in danger; the lone human city of Zion- deep within the Earth’s surface- is seen as they try and brace for an army of “Squiddies”- the machine’s soldiers- digging down from the surface to wipe out the city (this is the plot strain foreshadowed in the “Animatrix” short “Final Flight of the Osiris”); Neo, Morpheus, and Trinity are sent by the Oracle (the late Gloria Foster, again bringing feeling and levity to the proceedings in her one scene) to retrieve the imprisoned Key Maker (Randall Duk Kim), who may hold the, er, “key” to the survival of Zion and destruction of the Matrix; and Neo has an encounter with the Architect, the creator of the Matrix. Meanwhile, Neo is confronted by Agent Smith- his arch-nemesis (whom he supposedly destroyed) from the original film played with such devilish, deadpan delight by Hugo Weaving- and the possibility that as did Agent Smith’s killing of Neo unleashed his inner “One,” Neo’s destruction of Agent Smith may have only made him a larger threat to Neo and co.
So that’s all you need to know about the story (such as it is), what’s the film like?
(**From here, I’ve gotta get into Spoiler Territory, so if you want to go in clean, stop here, save this email, and return when you’ve seen it. If you’ve already read the Time magazine article on the film, however, which already telegraphed the entire movie, have seen the movie, or simply don’t care how much you know going in, read on.**)
First of all, I feel obliged to say what I liked, or even loved, about “The Matrix Reloaded.” First things first, Don Davis’ orchestral score is a memorable companion to his continually-more-impressive score from the 1999 film. It builds on the musical identity of the first score in ways that only improve “Reloaded,” not hinder it. Next to John Ottman’s “X2” score, it’s my favorite of 2003 so far, and I can’t wait to hear what Davis has in store for the final chapter, “The Matrix Revoutions,” come November 5 (or 7, whatever day it is now). Secondly, I rather liked the setup for the character of Link, the new “operator” on Morpheus’ ship the Nebuchadnezzar played by Harold Perrineau Jr. (Mercutio from Baz Luhrmann’s “Romeo + Juliet”). He’s made a promise to serve the Neb after Dozer and Tank (the Zion-born brothers of the 1st film) died in the first “Matrix” (well, Dozer died at least; Tank apparently died between films, since Warner Bros. didn’t bring back the actor- Marcus Chong- for “Reloaded” and “Revolutions”- for one reason or another), but his girlfriend Zee back at Zion (played by Nona Gaye in the role intended for the late Aaliyah)- who was Dozer and Tank’s sister- is hesitant to let Link risk death on the same ship her brothers died on. The one real scene between them is so well-played and is the first real sense of feeling I’ve seen in the movies that it was unfortunate so little is made of Link’s dilemma later on- and Link is reduced to a “cheerleader” role of sorts- that it made me hope the third film would explore this more (my guess, not a likely scenario).
Another new character I rather liked was that of Persephone, the French temptress played by Monica Bellucci (“Tears of the Sun,” Mel Gibson’s forthcoming “The Passion”). Bellucci’s described the character as “a vampire of the emotions,” and her seductive mysteriousness is in sharp contrast to her long-winded husband the Merovingian (more on him later), whom she calls- rightfully so- a “pompous prick,” making me wish she were single (and not just because she’s a babe). As with the first film, the scene between Neo and the Oracle- Foster’s appealing portrayal of the role will be missed in “Revolutions”- is a highlight, even more so because of the potential it introduces of what challenges Neo could face later on (more on that in a minute). Similar scenes- one between Neo and Zion Councillor Hamann (played by Anthony Zerbe) early on, and the later scene between Neo and the Architect, the creator of the Matrix- whom gives Neo an unenviable choice and an intriguing “revelation” that expands on an idea hinted at in the first film- are similarly compelling in their own pretentiously overwrought way. The Agent Smith material (save for one scene) was good; I just wish we could’ve seen more with him. All of the Key Maker scenes worked for me as well (in fact, the entire last act worked for me). The Neo-Trinity love story and Neo flying- two elements introduced in the first “Matrix” that left me annoyed and asking “Why?”- pay off in surprising ways that justify their introduction.
And then there’s the car chase, as Morpheus and Trinity attempt a getaway- with the Key Maker in tow- on a freeway- first by car, then on motorcycle, as the Matrix’s police force, Agents, and the Merovingian’s spectral badass’ the Twins- albinos with dreadlocks and the ability to dematerialize at will- hot on the trail. For me, this is the action set piece of the series thus far, it’s a kinetically-thrilling sequence that goes on for an enthralling 14 minutes that minimizes photographic tricks (save for necessary ones) and amps up energy and cinematic fluidity, all the while posing clear and present dangers for Morpheus, Trinity, and the Key Maker and obeying the “rules” of the Matrix (such as they are), which means Agents taking the form of anyone, Agents dodging bullets, a Twin materializing in the backseat to have it out with Morpheus, Morpheus and an Agent going at it on top of a semi, and a “money shot” ending that’s too good to give away. Hell, it even made me dig the formulaic “Mona Lisa Overdrive” track (by Juno Reactor and Don Davis) from the “Reloaded” soundtrack more than previous listens.
So after all that, what DIDN’T I like? Oh, plenty. Start with the criminal underuse of Jada Pinkett-Smith as Niobe, a Zion captain and former flame of Morpheus’. Sure, she’s the main character in the “Enter the Matrix” video game (which I haven’t played), and there’s one more film to go for her to get exposure in and flesh out her and Morpheus’ relationship, and admittedly the ways she’s used here are pretty cool, but like Bellucci’s Persephone, it seems like a waste of a big name. Next, there’s the Zion stuff itself. The first act of the movie is set there, and while the design of the city itself is pretty darn cool, boy is it brutal to sit through. More hot air from Morpheus’ mouth and the mouths of others, a fan boy (known simply as “Kid,” and apparently the protagonist of the not-yet-released “Animatrix” short “Kid’s Story”) for Neo to be annoyed by, and a rave/orgy scene (set to an admittedly good piece from the soundtrack, Rob Dougan’s “Furious Angels”) intercut with Neo and Trinity getting it on that couldn’t be less sensual if it wanted to. After that, you have the Merovingian (played by Lambert Wilson), a Frenchman (how convenient?) whose an even more long-winded and insufferable than Morpheus. His speeches seem to go on for a lifetime, begging the question, “How exactly did this windbag land a hottie like Persephone?”
Beyond that, how can I sum up what I had wrong with “Reloaded?” Where to start? How about the overuse of slow motion in the action sequences (as was the case in the first “Matrix,” it’s WAYYYYY too much of a good thing); the empty philosophy spouted in the dialogue (see the Merovingian and Morpheus); the lack of exploration of the fact that Neo now sees the Matrix as computer code to be broken (as was seen at the end of the first film); the repetitive nature of the kung-fu action scenes (yes, master choreographer Yuen Wo-Ping is a god, but could we come up with something new here folks, or at least put some feeling behind the static movements?); or the underuse of the Twins (please say they’re back for “Revolutions” and not just another casualty of Darth Maul-Deathstrike “One and Out” Syndrome), and underdevelopment of the idea of “rogue” programs (programs- such as the Twins- not exactly playing nicely with others) hinted at by the Oracle (which really could’ve livened up Neo’s kung-fu scenes for me).
I know, the “Burly Brawl,” the reported piece de resistance of “Reloaded” where mister “One” takes on 100 Agent Smiths all by his lonesome. The sequence that was supposed to take “bullet time”- the cinematic slo-mo breakthrough by FX supervisor John Gaeta’s team from the first film- further than anyone else could reach in the near future. The sequence that was supposed to be the equal in technical brilliance of “Lord of the Rings’” Gollum. The sequence that broke the rules and thrilled moviegoers with something new and imaginative. Well, let me be the one to break it to you- the “Burly Brawl” is none of these things. Like the other kung-fu/wire-fu fights in the “Matrix” movies, it’s repetitive and static in the movements (with too much **bleeping** slo-mo to boot). The fact that there are 100 Agent Smiths is a cool conceit, except for this- of course you can have 100 Agents Smiths onscreen- CGI can make that happen for you if the technology is there (and it is). It doesn’t help that the sequence a) is scored with such a love for clich� by Juno Reactor and Don Davis that the piece wouldn’t land on even an “outtakes” disc of Hans Zimmer’s music, and b) the brawl ends with an anti-climax so infuriating that one asks, “What was the point of that?” instead of sitting there in slack-jawed awe of what they’ve witnessed; you have to wait for the car chase for that.
Ultimately, what’s wrong with “The Matrix Reloaded” is the same thing that I find wrong with “The Matrix”- the cinematic story, as conceived by the Wachowski Sisters, has almost nowhere to go when the mystery of the Matrix is revealed to Neo, and must then be padded with drawn-out mumbo jumbo about fate and choice and action sequences as familiar and cliched as the visual effects to render many of them are original and innovative. I can see this story- as it appears onscreen- working well as a comic book or graphic novel, but as a movie trilogy that’ll ring in around 7 hours when all is said and done? There’s too much dead weight to sustain the running time. With the right elements from the first two movies (and probably “Revolutions”), “The Matrix” could’ve made a killer 3 hour epic that really was the end-all of action cinema as we know it. As it is, it’s merely a padded presentation of a great sci-fi premise in the guise of a mindless action thriller, and if there’s one thing I don’t like about the series most, it’s that it could’ve been so much more.
Of course, it’s useless to criticize “Reloaded” in particular as if it were the finished product of “The Matrix” trilogy. A lot of the things I felt were lacking or went unexplored in “Reloaded” will likely be explored in “The Matrix Revolutions” in November, and for that, the Wachowski’s have me hooked to see how it all turns out. Problem is, that’s still no excuse to leave me so unsatisfied the first time around (or second time, as is the case).
