The Matrix Resurrections Is Less a Sequel and More a Bizarre Thinkpiece About The Matrix’s Legacy 

It can be difficult for someone to ReasonAn editor should hate films that end, Resurrections of the MatrixThis is what happens, as the hero declares triumphantly “it’s simple to forget what freedom can do,” while suggesting that it might be possible to “paint a sky with rainbows.” It’s harder to remember that the film’s sequel is a long-awaited and ambitious effort. The MatrixTrilogy, an iconic, pop-culture masterpiece that defined big-budget action cinema and a new era. 

It’s still enjoyable to go back and revisit the film’s world after nearly twenty years. So I don’t hate Resurrections of the MatrixIt is, however, not something I love. The best way is to see it. Resurrections of the MatrixIt isn’t as simple as it seems. Matrix sequel. It is something far, far stranger. 

Yes. Lana Wachowski co-directed and wrote the movie. This film is a continuation to the sci fi trilogy which ran 1999-2003. Star actors include Keanu Reynolds as Thomas Anderson/Neo as well as Carrie Anne Moss and Trinity. It occasionally displays gravity-defying action visuals, similar to the ones that the original trilogy is known for. However, none of these new sequences have reached franchise heights. Yes, it has layers of callbacks, cameos and Easter eggs to please the most ardent fans. 

However ResurrectionsIt is less focused on delivering the long-awaited sequel-cum reboot than it would be. Instead, they are more interested in exploring the assumptions that will inevitably drive such productions. This is a strange, interesting, almost bizarre film about the Matrix and pop culture’s demands. It’s not a sequel. The Matrixit is a complex cinematic piece that attempts to answer this question 20 years later: Why in the world am I getting a sequel? The Matrix

The movie gives a clear answer in so far as it can. This idea isn’t subtextual or metaphorical; it’s actually built into an early scene in the movie. 

Thomas Anderson is still a programmer in the Matrix. Here is where the plot gets weird. 

Instead of a lowly corporate drone, Anderson is now the chief creative at a major video game company, a beloved figure in the world of gaming because two decades earlier he invented a game called…The Matrix.

The game features the exact same characters and key scenes as the movie, which launched the franchise in real life. The images and scenes that haunted him made him both a rockstar and a symbol of his youth. 

The long tail of the Long Tail is our hero. The MatrixHe is trying to escape the pull of it by telling his psychiatrist that his identity has been forever tied with it. He tells his psychiatrist. The Matrix—the video game he invented—”took over his life.” He was working on a brand new video game when we met him. But work is slow and the project doesn’t seem to be taking shape. His business partner Jonathan Groff (who is providing quotes since the beginning) became his second. Matrix When we first met him() tells him that he has been given the task of creating a sequel. The Matrix

Who was the person who asked Groff to do this task? Groff’s character explains that this project was handed down by the game company’s corporate owners at Warner Bros.—the same movie studio that owns the original Matrix trilogy here in our real world, and thus the same studio that produced this year’s sequel. Anderson learns that Anderson can participate in the sequel, even if he is not there. 

Already you can see that the metaphor is taking form: It’s a Matrix movie about creating a Matrix sequel. Anderson/Neo serves as the stand-in for its creators. 

This comedy is all about making fun of the Matrix sequels and the processes that lead to them. So we get scenes of irritating creative types brainstorming what a new Matrix game would need—a “new bullet time” to update the earlier film’s signature visual, story elements that lend themself to kaleidoscopic interpretation so as to maintain cultural relevance, and so on and so forth.

The first half hour of the film is filled with scenes that are a direct reference to the original trilogy. Many times, the scene references the same scene, sometimes repeating images or direct quotations. It plays almost like a joke about how sequels can recycle and remix the previous ones. 

This sounds strange and complicated, but it’s likely that you are referring to it as a way to create a multi-billion dollar action blockbuster. It’s a meta-movie about the franchise film and how they become themselves. This is a timely film, as it comes so close to the events of Spider-Man, There’s No Way HomeThis is a sequel that was based entirely on fan-generated appreciation of the different cinematic versions of Spider-Man. What about where? There is no way homeYou have already delivered your self-referentiality. de rigueurFor such sequels Resurrections of the MatrixThis project attempts to uncover that self-referentiality by exposing it at each stage, nearly. like a Penn & Teller magic trick—even while doing exactly the thing it must do. 

You’ll find amusing and clever self-mockery throughout the film. This movie also offers a great example of franchise deconstruction. You should see it if you are a big fan of the originals. 

It doesn’t always work. Wachowski, Aleksandar Hemon, and David Mitchell aren’t sure what to do with the metamovie narrative device. Look at this metamovie gag! 

With one exception at the very end, however, the action scenes lack the iconic clarity and expert pace that the original trilogy’s large action scenes had. The connections between action scenes and similar moments from the original series almost always remind us of the greatness of those sequences and the lack of inspiration in this film’s large action beats. This movie fails to be an action blockbuster. 

Resurrections of the MatrixIs a bizarre psycho-analysis The MatrixMore than just a cultural footprint, Matrix successor. Although I liked its wild weirdness, it was enjoyable. I’m also always open to a stimulating thoughtpiece. The MatrixLike the one Kat Rosenfield wrote recently Reason, Lana Wachowski would have been a better writer if she had let go of some of the limitations that the original placed on her.