This is hardly the Keanu Reeves and Carrie-Anne Moss comeback we were hoping for in ‘The Matrix Revisited’
The Matrix Resurrections take numerous bold artistic risks, but none of them pays off. Lana Wachowski, who co-wrote and directed The Matrix Revolutions in 2003, returns to the series without her sister, Lilly, for the first time in 18 years. The Matrix Resurrections stars Keanu Reeves and Carrie-Anne Moss in an action/sci-fi sequel that feels personal but isn’t required.
The plot begins 20 years after the events of the Matrix Revolutions. Neo (Reeves) goes by the name Thomas A. Anderson and lives a normal life in San Francisco. Along with his business partner, he works as the world’s most famous video game creator (Jonathan Groff). On the other hand, Thomas suffers from delusions that make it difficult for him to distinguish between fact and fiction. His therapist (Neil Patrick Harris) gives him blue tablets to help him deal with his hallucinations. Thomas encounters Tiffany (Moss), a lady who looks just like Trinity. Neither of them knows the other, yet they sense a strong bond between them. Yahya Abdul-Mateen II) arrives out of nowhere, holding a crimson pill that would release Thomas’ mind. Who can he rely on, and how will he be able to preserve Trinity? Neo, played by Keanu Reeves, and Trinity, played by Carrie-Anne Moss, are both dead. Or are they? Jessica Henwick as Bugs, a new character in The Matrix Resurrections who tries to preserve the planet. The narrative of Neo and the notion of “The One” is legendary. The devotion of Neo’s followers lies at the crossroads of religion and history, since they believe in what he stands for. Since The Matrix Revolutions, a lot has happened, and morality in the real world is catching up with some old figures.
The first act of The Matrix Resurrections deals with mental health issues. As components of reality are blamed on Thomas’ mental condition, he is continuously gaslit. He aspires to be a “normal” person as defined by society. Neo’s pain is brought to the forefront, as he must finally choose between freedom of choice and comfort. Some of this has already been covered in previous Matrix films, but Wachowski takes a unique and intriguing approach. The Matrix Resurrections are fundamentally existentialist. Hollywood’s influence over the apparently never-ending flow of sequels, prequels, and reboots is continually mocked throughout the film. It pokes fun at its own existence and the pressures of remaking something that previously defined the medium. Fans of The Matrix have a multitude of beliefs about what the original is all about, many of which are addressed in The Matrix Resurrections.
“The Matrix Resurrections” is obnoxiously meta.
The Matrix Resurrections is undoubtedly a very personal film for Wachowski, both intellectually and emotionally.It struggles with the pressures of recreating genre-defining events and living up to expectations both within and beyond the Matrix universe. Although it devolves into a ludicrous rescue effort with startlingly low stakes and a lack of urgency, there are some intriguing topics surrounding mental health and trauma. The self-awareness of Wachowski’s sequel is innovative, to a point. The Matrix Resurrections are obnoxiously meta. It tries for laughs, but as a consequence, it cheapens its own message. The rest of the movie is loaded with unnecessary exposition that feels compelled to explain to you what’s going on, why it’s happening, and how it’s going to happen. There’s still a lot to explain after The Matrix Revolutions, but it shouldn’t be in its third act. The Matrix movies are known for their mind-bending action scenes. Unfortunately, this sequel avoids it entirely. The action sequences are choppy close-ups that mutilate the combat choreography for which the series is renowned. Foregoes action in favour of a nostalgic and lovely love tale. However, it becomes a problem when the strongest parts of the film are snippets from the original trilogy, on which the film is too reliant. While some of it succeeds, The Matrix Resurrections is an unneeded sequel in general.