It’s been 18 years since Keanu Reeves and Carrie-Anne Moss loved and fought together in what was generally thought to be the final Matrix movie from the Wachowskis siblings. Fast forward to Christmastime 2021 and guess who is gliding back into that life simulator once again? Reeves and Moss, along with a few other familiar faces and one that looks an awful lot like a certain pop-cultural icon whose moniker alone—Morpheus—has come to symbolize so much since Laurence Fishburne donned those distinctive shades almost two decades ago.
In this world, his name may be Morpheus, and he may dress and carry himself in a way that recalls one of the Black-ish stars’ most iconic roles, but it is Yahya Abdul-Mateen II instead inhabiting The Matrix’s resident expert in everything.
For fear of “spoiling” something for our readers, when it comes to the details of what The Matrix: Resurrections specific web that filmmakers have woven for this fourth trip down the proverbial rabbit hole. Let’s just say this, Reeves’ character is still known as Thomas Anderson and he is working in tech, technically. He has designed a series of games based on his experience in… The Matrix and they are blockbusters. There is a high level of Meta-ness as the narrative is first getting laid out with talks about sequels, remakes, etc. that are meant to through you off and marvel at its cleverness.
It is only when red and blue pills are being discussed and tossed around that our specific plot becomes clear(er). Not a ringing endorsement for clarity, I know, but this fourth film mirrors a similar response to the second and third films. Do I wish Resurrections broke the meh cycle of moviemaking that has seemingly overcome all involved?
You bet!
The film does look amazing. Historically, what the Wachowski siblings have visually done to push the Visual EFX industry’s technological envelope, they are generally given a pass for presenting material that was well below the transcendentness of the first film. One keenly knows what made the 1999 film so beloved was how there is an unbreakable emotive connection between the audience and our Matrix-centered heroes, such as Neo, Trinity (Moss), and Morpheus.
That was sadly somewhat absent from the second film, completely missing from the third and now fourth chapter in the beloved series from the Wachowski siblings. Lana co-wrote this fourth film with David Mitchell and Aleksandar Hemon and also directs it solo, sans sister Lilly.
As someone who considers themselves a fan of The Matrix world, the above may sound like I have a funny way of showing my cinematic devotion. The thing about that first film, which has stayed with me for decades, is its unwavering message about believing in oneself. As presented by the Wachowskis (who at the time were brothers and now both are sisters) it’s handed in such an organic way that it can be enjoyed ad nauseam and has been for millions of folks.
Sure, I’ll admit it. The idea of returning to this world with Lana Wachowski was also driven by nostalgia. Given that the entire endeavor was more miss than hit, still, simply being around these familiar characters and experiencing fresh action sequences from artists who altered the moviemaking landscape is worth going to a theater or pressing play on HBO Max at home.
There is much to salute. Then again, if it seems as if what you are witnessing on television is something you’ve seen before and is beloved to the maximum, don’t be surprised if similar emotions exhibited two decades prior rear their head once again. Wachowski several times in her film utilizes that “black cat walking” signal that we’re about to enter Déjà vu territory. One of the cats at a certain point is drinking out of a bowl that says, “Déjà vu!”
Jonathan Groff (Frozen II) joins the cast as a familiar character, like Abdul-Mateen II. He is Smith… but is he the Agent Smith? Neil Patrick Harris is amazing as The Analyst, who may have the largest character arc of anyone in this Matrix incarnation. Jada Pinkett-Smith’s Niobe returns as well, and her words of wisdom are spot-on and much needed.
Technically envelopes are pushed to the edge, story-wise, not so much. Then again, does it matter? There is no spoon, remember?
Grade: B-