‘The Matrix Resurrections’ – Welcome Back to the Real World

It’s been a couple of days since I watched “The Matrix Resurrections,” and my feelings about it are a bit mixed. Truth is, I have been waiting for a fourth “Matrix” movie for years following the ending of “The Matrix Revolutions” which ended the trilogy with a whimper instead of a bang. My friends and I came out of it thinking there had to be another one, and we guessed it would be called “The Matrix Resurrection.”  So, when the first trailer for “The Matrix Resurrections” was dropped for the whole world to see, I was thrilled to see Neo and Trinity alive again, and I could barely contain my excitement for what was to come. Then again, I am always reminded of how expectations and anticipation can lead you to an ecstatic high which the final product can never ever live up to.

To me, “The Matrix” movies are a lot like Peter Gabriel’s albums, you have to go in expecting the unexpected, and this is certainly the case here. Sure, all the cool special effects like bullet-time and characters jumping all over the place are back, but this installment is also more intimate. It takes jabs at Hollywood’s incessant need for remakes, reboots and sequels as nobody seemingly has the guts to produce anything original, and it echoes the events of “The Matrix” trilogy to where some will be saying “déjà vu” out loud. But deep down, this one is at its heart a love story of two people torn apart in their battle against the machines, but who now have a second chance to be together again because, hey, wouldn’t it be nice?

We meet up again with Neo and his alter-ego of Thomas Anderson (Keanu Reeves) who has once again been plugged back into the simulated world and works as a highly successful video game developer who has long since created a successful trilogy of games entitled, you guessed it, The Matrix. The games are based on his dreams from his faint memories of being Neo, and now the parent company, Warner Brothers, wants him to make another game to the delight of his boss, Smith (Jonathan Groff), who starts off sounding quite a bit like Agent Smith…

Suffice to say, Lana Wachowski is looking to have a little fun with Warner Brothers as they have been constantly asking her and her sister Lily to make another “Matrix” movie. As Mr. Anderson’s fellow employees try to keep coming up with ideas about how to make a fourth game, and no one can seem to agree on anything. Lana ended up co-writing and directing this installment by her lonesome as Lilly did not want to return to this franchise, but I imagine Lana is speaking for the two of them as she flips the bird to the studio as if to say, “you think it’s easy coming up with another sequel? Just be happy with what we give you dammit!”

Still, Thomas is plagued by what he says are “dreams which are not really dreams,” and he tells his therapist (played by Neil Patrick Harris) that he believes he is going crazy. But his therapist, with his blue-rimmed glasses, assures him he is not and prescribes him medication which comes in blue pills. And we all know what happens when you take the blue pill, right?

There’s a lot going on in “The Matrix Resurrections” to where watching it once will not be enough. While it does repeat some scenarios and themes, it does so in a way which feels relatively fresh. Yes, Neo, has to be awakened from the simulated world and brought back to the real one once again, but history does have a nasty habit of repeating itself. After all this time, choice is still seen as an illusion to certain characters, but there are those who are willing to challenge this perception which helped bring me into the story on an even deeper level. After all these years, I refuse to believe choice is an illusion.

One character who looks like an agent introduces himself as Morpheus, but he looks a bit different here as he is played by Yahya Abdul-Mateen II. As to why Laurence Fishburne did not reprise his role, you have to remember what happened to Morpheus in the game “Enter the Matrix” which is considered canon. While Abdul-Mateen does try to sound like Fishburne at times, his Morpheus has his own moves and rhythms to where he comfortably makes the role his own and is a lot of fun to watch.

Jonathan Groff makes for a menacing Agent Smith (the second trailer revealed who this actor was playing), but it would have been great if Hugo Weaving were able to return as this character makes an interesting decision towards the latter half of the movie. Jessica Henwick, who opted out of Marvel’s “Shang-Chi and the Legend of the Ten Rings” to do this, makes Bugs a badass gunslinger whom you want to follow from start to finish. Lambert Wilson returns as The Merovingian, but this time he looks like he just jumped out of Terry Gilliam movie. And yes, Christina Ricci appears here in a small role which is like one of those blinked and you missed it ones. Much was said about her being in this sequel, but she’s barely in it.

The action here is exciting, but it does not have quite the same exhilaration as the original “Matrix” did. Regardless, there were some interesting moments on a train and throughout the city of San Francisco. Cinematographers John Toll and Daniele Massaccesi give this particular “Matrix” movie its own look to where it feels like its own thing. Composing the score this time around instead of Don Davis are Johnny Klimek and Tom Tykwer who have big shoes to fill, but the two give us music which makes the action and emotions on display all the more rousing. Having said that, I kept asking myself, “Where the hell is Juno Reactor?!”

But for me, the heart of this movie is in the relationship between Neo and Trinity. Although their characters were killed off in “The Matrix Revolutions,” something never quite sat right with me or with the conclusion where the humans essentially reach a draw with the machines. Lana has said writing the screenplay was her way of dealing with the grief of losing her parents, and bringing back these two iconic characters felt very welcome to me. While some may consider this a cheat as it threatens to retcon all Neo and Trinity went through, I am reminded of how anything is possible in this particular cinematic universe.

A lot of people still like to pick on Keanu Reeves’ acting, but I am willing to defend him on a number of roles he has taken on including this one. While there are certain scenes which have him emoting, his work overall was solid overall as he realizes how the dynamic between Neo and Trinity is taking on a different dimension this time around, and his time as John Wick is proof how he can handle action scenes like a seasoned pro.

It is also so cool to see Carrie-Anne Moss back as Trinity as she has not lost a step and still looks far too young to be getting grandmother roles. In the simulated world, she is Tiffany who is married with a couple of kids and has a thing for motorcycles, but upon meeting Mr. Anderson, she is convinced she has met him before. Moss invests this character with the same boundless energy she gave Trinity in the original trilogy, and I am thrilled she is back to keep some ass. Also, I am glad that the choice to leave the Matrix was given to her because, seriously, women should have the right to choose.

When it comes down to it, what really got me more involved in “The Matrix Resurrections” was seeing Neo and Trinity on the screen and wanting them to be together again. Seeing them torn apart previously may have inevitable, but I like to believe in second chances as the world of machines has gotten bigger and stronger than what we saw previously. In a world dominated by technology, the need for human emotions like love is stronger than ever.

As I write this, “The Matrix Resurrections” has been getting some rather polarizing reviews. People have been calling it a needless and soulless cash grab while others see it as a worthy installment which takes things in a fresh direction. Indeed, while Lana Wachowski does deliver on certain expectations, she openly defies several others as she is determined to make this movie her own and not simply give in to corporate studio heads or test screenings. The fact people are mixed on the final result is not really surprising as these movies are anything but your average sci-fi action spectacle, and they don’t always give you what you think they will.

For the most part, I did like “The Matrix Resurrections” even if it didn’t thrill me as much as I hoped. But like I said, it helps to expect the unexpected. I will see it again at some point in the hopes of uncovering more of its multiple themes and visuals as there is only so much I could take in on a first viewing. Many will be judging this sequel at its surface, but hopefully they will take the time to see what’s underneath it.

The Rolling Stones were right: you can’t always get what you wanted, but if you try sometimes, you just might find get what you need. That’s how I view this movie.

* * * out of * * * *

Knock, Knock – The First Trailer for ‘The Matrix Resurrections’ is Here

It is September 9, 2021, and I knew exactly what I needed to do: have breakfast and watch the first trailer for “The Matrix Resurrections.” But of course, breakfast would be second as this particular trailer could not come soon enough. All I can say is, wow! Keanu Reeves, looking more like John Wick than Neo, is back. Lana Wachowski is back. Carrie-Anne Moss is back, and no, she does not look to be playing a grandmother here.

The first thing I want to point out about the “Resurrections” trailer is how excited I am at how part of this movie takes place in San Francisco. It all looks so beautiful here, and it feels like it has been forever since anyone shot anything there. Part of me expected those digits to descend down the screen, but the trailer instead opens up with Thomas Anderson (Reeves) talking with a therapist (played by Neil Patrick Harris) about these strange dreams he has been having. From there, we see him taking what I guess are anti-depressants, and they are blue pills. And one other thing, Harris is wearing blue glasses in his session with Thomas. Coincidence?

What blew me away about this trailer was that it has a unique look to it. Sure, there are many images from the original featured, but “Resurrections” is made to look like its own thing and not a simple repeat of what came before. While its story line feels a bit similar to the original as Mr. Anderson is slowly waking up to the world around him, there is a different feeling this time around.

Quite wisely, this trailer only tells us so much about what we will be seeing this December. Lana Wachowski is not about to give everything away which is smart, and we are left to ponder the reality this sequel takes place in. As a result, I am left with a string of questions I am eager to see answered:

Will this sequel take place following the events of “Matrix Revolutions,” or is this a whole new timeline featuring the same characters?

Is Thomas Anderson (a.k.a. Neo) too woke to use a cell phone while in an elevator?

Why does Neo recognize Trinity but Trinity does not recognize Neo?

Will the bullet time effects be utilized frequently in this film?

Is Morpheus, now played by Yahya Abdul-Mateen II, meant to be a younger version of the character previously played by Laurence Fishburne?

Is this a prequel instead of a sequel?

Christina Ricci is co-starring in “Resurrections,” but did we see her in this trailer?

Is Thomas/Neo dumping those blue pills into the sink meant to be smack in the face to big pharma?

Do we really want to see this on HBO Max instead of on the big screen where it belongs?

Was Keanu Reeves shooting the fourth John Wick movie while filming “Resurrections?” Is this why Neo looks like John Wick?

Is Trinity pregnant with Thomas’/Neo’s baby? Well, whatever the case, she certainly does not look to be a grandmother in this installment.

With Johnny Klimek and Tom Tykwer taking over music scoring duties from Don Davis, will Juno Reactor be along for the ride as well?

Lastly, why is everyone stunned that Laurence Fishburne does not appear in this trailer? For crying out loud, it was announced he would not be appearing in it ages ago! Besides, he will be reunited with Reeves in the next John Wick sequel, so stop complaining!

Suffice to say, I am as excited for this sequel as I am for “Halloween Kills.” As a result, I need to keep my expectations in check as they can be easily ruined for all the wrong reasons. I have enjoyed all “The Matrix” movies, and I include the third one even though its ending really sucked. With this trailer for “The Matrix Resurrections,” we look to be getting something as striking and visually spectacular as the original which wowed us back in 1999. I cannot wait, and I am about to say something I have not said in years: Christmas can’t come soon enough!

Check out the trailer below:

‘Gone Girl’ is a Deliciously Twisted Masterpiece

Gone Girl movie poster

David Fincher’s “Gone Girl” is a deliciously twisted masterpiece, a shocking and at times darkly comic look at marriage. I had an insanely good time watching it and I can’t wait to see it again, and that’s even if it’s just to watch the audience react so strongly to it. There’s no way you can come out of this movie and say you weren’t the least bit enthralled by the nasty journey Fincher takes us on. Just when you think “Gone Girl” couldn’t get any more twisted, it does. Based on Gillian Flynn’s best-selling novel (she also wrote the screenplay), he succeeds in getting away with a number of things in this movie just as he has with his past work.

“Gone Girl” opens on Nick Dunne (Ben Affleck), a frustrated writer who drops in one morning at the bar he owns (which is literally called “The Bar”) where he talks with his sister Margo (Carrie Coon) about the state of his marriage to Amy (Rosamund Pike). It happens to be their fifth wedding anniversary, and Nick celebrates it with a couple of glasses of bourbon which should give you an idea of how messed up things are between them. But then Nick comes home to find Amy gone and smashed furniture and glass scattered all over the floor, a sure sign something bad happened while he was gone. Suspecting Amy has been kidnapped, Nick calls the police and from there the search is on to find her before she disappears forever.

Now “Gone Girl” is a movie with an insane number of twists which makes it hard to talk about because it’s not worth spoiling any of them. But what I really loved is how it works on a number of different levels. Many movies can be boiled down to one sentence, but not this one. “Gone Girl” is a critique of a marriage that started off passionately but which has since been devoured by bitterness and resentment, and it makes you wonder why we tend to hurt the ones we love most. It takes a number of jabs at social media and people consumed with exploiting the trials and tribulations of others for the sake of ratings while the truth threatens to get lost in all the hoopla. It also serves as an indictment of a society quick to believe what they are told instead of recognizing a person is innocent until proven guilty. But at the heart of the movie is this question; how well do we know the person we choose to spend the rest of our lives with?

We see people reaching out to Nick Dunne in sympathy, but they just as quickly turn on him when evidence suggests he may have murdered his wife. From there, it becomes a constant game of media manipulation as the characters work furiously to get the upper hand on those who have deceived them and to sway public opinion in their favor. We live in a world of sound bites where information comes to us quickly and not always in an accurate manner. By the time we get to the truth, it may already be too late to view it objectively.

Over the years, many have described Ben Affleck as being this horrible actor who never had any business working in movies, but I’ve never agreed with this assessment. Yes, he has given some bad performances in “Pearl Harbor” and “Gigli,” but then again “Gigli” didn’t do anyone any favors. In “Gone Girl,” Affleck succeeds in giving one of his best and most naturalistic performances to date as he gives us a character who is not altogether likable, but who is still a complex individual caught up in a situation beyond his control. Nick is a complicated character who we are quick to make assumptions about, but what we think of him ends up saying more about us. I love how Affleck makes Nick a deeply mercurial character whose motives you can’t help but be suspicious of, and a scene where he sways the public back to his side during an on-camera interview with shows him at his conniving best.

I remember Pike from her early appearance as a Bond woman in “Die Another Day,” and she has gone on to give unforgettable performances in “An Education,” “Barney’s Version” and “The World’s End.” But when it comes to describing her work in “Gone Girl,” a flurry of adjectives cross my mind to where I have to be careful of what I say. What I can say is she is endlessly mesmerizing in a role which has her exploring every single facet of her character to where she surprises us in such an unnerving fashion. It’s a truly fearless performance you won’t soon forget after you leave the theater, and Pike doesn’t hold anything back.

“Gone Girl” also has a great supporting cast, and each actor sinks their teeth into their roles with relish. Kim Dickens is a delight as the cynical and yet slightly mischievous Detective Rhonda Boney, and she is blessed with a lot of great dialogue throughout. Patrick Fugit, almost completely unrecognizable from his “Almost Famous” days, is a snarky delight as Rhonda’s partner Detective Jim Gilpin. Neil Patrick Harris gives a charming and yet enigmatic performance as Desi Collings, Amy’s ex-boyfriend who looks like he can be trusted, but there’s a certain creepiness about him to where you wonder what’s really going on in his head.

Even Tyler Perry shows up in a very non-Medea-like role as Tanner Bolt, a somewhat devious attorney far more interested in winning the most impossible to win cases in court and playing the media like a piano to his clients’ benefit. Knowing how Perry caters mostly to the church going audience, I’ll be interested to see what they make of his time in Fincher’s dark world. I got a kick out of watching Perry here as he keeps his cool even as Nick’s case spins out of control.

You also have Missi Pyle on board as Ellen Abbott, a character clearly designed to remind you of Nancy Grace and of how annoyingly abrasive television hosts like her can be. Acting so entitled to her point of view even if the truth is not in her favor, Pyle makes her into a shameless individual who doesn’t apologize for anything even when she’s proved wrong.

But one supporting performance I really got a huge kick out of in “Gone Girl” was Carrie Coon’s as Margo. Coon is sarcasm incarnate right from the first moment she appears onscreen, and her scenes with Affleck are filled with love and devotion as well as a lot of anger at his foolish mistakes. I’m not too familiar with Coon’s work as she has appeared mostly in television and made a name for herself in various productions of the famed Steppenwolf Theatre Company, but I hope to see more of her in the future. She makes Margo a strong and fiercely independent character in a movie filled with so many morally clueless ones who get away with far too much.

The movie also marks Fincher’s third collaboration with composers Trent Reznor and Atticus Ross, and the two succeed in putting together another unforgettably creepy film score. What’s fascinating about their music here is it starts off sounding nice and inviting, but soon it becomes overcome by discordant sounds which imply there is something seriously disturbing going on in this quiet suburban neighborhood. Just when you think you can pull yourself away from the nasty voyage Fincher is taking you on, Reznor and Ross’ atmospheric score sucks you right back in and refuses to let you go.

Fincher’s “Gone Girl” is definitely a movie for these crazy times we live in now, and it is likely to make many out there think twice about getting married. Heck, even eloping sounds like a bad idea after watching this. But amid this tale of deeply flawed individuals and industry types more interested in their own celebrity than anything else, it makes one wonder whether we can ever really know someone completely. We’d like to think we know everything about our significant other, but can we really? This movie seems to imply we can’t, and Fincher makes you see this is one of the most frightening truths of all.

Fincher is a guy who never plays it safe, and “Gone Girl” is the latest example of that fact. Seriously, this is the most subversive and darkly funny take on marriage since Danny DeVito’s “War of the Roses.” I have not yet read Gillian Flynn’s book, but I really want to now. A woman sitting next to me at the screening confirmed the book is a great read and that she was very satisfied with Fincher’s adaptation of it. I’m fairly certain she is not the only one who feels this way.

* * * * out of * * * *