You can’t be told what the Matrix is, you have to see it for yourself. These are some of the first words said to a fresh-faced Neo, by Morpheus, in 1999’s sci-fi phenomenon The Matrix. This is true both of the titular simulated world and the film centered around it. You can read the plot synopsis online, even read the script if you so wish, but you won’t truly know The Matrix unless you witness it firsthand. The themes, performances, sets, and soundtrack can be read about, looked at, and listened to but it is the culmination of all these aspects that makes The Matrix what it is. After a hiatus of almost 2 decades, it makes sense that The Matrix Resurrerections should be the same.
Set 60 years after Neo’s sacrifice in Matrix Revolutions, game developer Thomas Anderson (Neo’s simulation self) is having psychotic episodes brought about by memories suppressed by an AI known as The Analyst. Whilst working on a sequel to his Matrix videogame trilogy, he is freed from the simulation by a new cast of likable characters, before they attempt to rescue Trinity, whose memories are also being repressed. It’s a simple premise but the specifics of the plot are a tad more complex. As a whole, the film tackles the concept of legacy, in relation to both franchise creator Lana Wachowski and franchise owner Warner Brothers Studio. Watching Resurrections felt like watching an argument between the two, with Warner Brothers wanting a standard sequel and Lana wanting something that channels her emotions and experiences. Indeed, the film feels like a compromise between these two visions, like the film was going to go ahead without Lana and she channeled that frustration into the script.
So far, the film appears to be splitting audiences. Either the script is poor and the action is good or the script is good and the action is poor. Given how divisive both previous installments were, it’s almost comforting to see that Resurrections is too. “Comforting” is almost the perfect way to describe it. From the opening scene, which directly parallels the opening of the original Matrix, to the presence of Agent Smith, albeit in a different body. There’s a running theme of experiencing the same scenarios in a different body which feels like a much more obvious Trans allegory than the original trilogy. It’s clear how much of Lana’s own transition, especially in relation to her creation, is being explored here. As one of the most prolific directors of the early 2000s, her transition was never going to be a quiet affair and nobody will ever really understand how it affected her except for her. This author won’t speculate, but it can’t have been easy and I truly hope that she is happy not only with herself but with how Resurrections ended up.
The action is classic Matrix with a large amount of kung-fu and an equally large amount of gunfire. The violence is more weighted than in the previous two installments, due to Neo’s lack of practice and 60 years of taking the blue pill. It’s a miracle that his first fight with Smith doesn’t kill him, although he really cuts it close, only being saved by his new force powers. It’s a very cool power, and it’s great to see it finally making a debut after being considered for Reloaded, but it does feel like he’s found the one combo move that works and is continuously spamming it. Although, it does mean that Trinity gets to kick more ass than him this time around, which not only mirrors the original film but Lana as a person.
Where the film falters is in its pacing. The issue with seemingly having two films at play is that neither fully get the time they deserve. Many of the themes take a backseat for the majority of the action-packed third act and The Analyst, though an entertaining villain, lacks the looming presence of the original Smith. Even Smith, this time portrayed by Jonathan Groff, never takes up the amount of screentime that the character deserves. Although considering how little he feels like Weaving, many audience members may find this to be a relief.
It seems like the weakest elements in The Matrix Resurrections are ones controlled by the studio, although there’s every chance that that’s my bias showing. It’s also entirely plausible that this is how the film wants me to feel.
Is this film saying too much, or not enough?
Has Resurrections already decided your answer?
Until Next Time…
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