The Matrix Revolutions
Zdjęcia:
Bill PopeMuzyka:
Don DavisObsada:
Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, Ian Bliss, Collin Chou, Lachy Hulme, Nathaniel Lees, Harry Lennix, Robyn Nevin (więcej)VOD (4)
Opisy(1)
W finale trylogii Matrix, Neo (Keanu Reeves) podejmuje kolejny krok w poszukiwaniu prawdy. To początek jego podróży do rzeczywistego świata i powstania Matrix. Jednak podróż między światami wyczerpuje jego siły i rzuca na Ziemię Niczyją - między Świat Matrix a Świat Maszyn., Trinity (Carrie-Ann Moss) czuwa nad Neo, który znalazł się w stanie śpiączki. W tym samym czasie Morfeusz (Laurence Fishburne) zmaga się z objawieniem, że Ten, komu zaufał, okazał się po prostu systemem sterowania wynalezionym przez architektów Matrix. Gdy Armia Maszyn próbuje zniszczyć Zion jej obywatele organizują agresywną obronę. Czy będą w stanie prowadzić walkę z nieustraszonymi Wartownikami, aż Neo odzyska pełnię swoich mocy i zakończy wojnę? (Galapagos)
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Recenzje (11)
Matrix Revolutions has a more tangible and meaningful plot, less pseudo-philosophising and less gratuitous action for effect than in The Matrix Reloaded. I’m satisfied with that. You’ll find yourself yawning through the first hour, but the subsequent “war of the machines” is amazing. If there were more emotion in the final digital fight between Neo and Smith, Revolutions would have been a class better than Reloaded. The film’s ending has an appropriate amount of the pseudo-depth that the whole saga has been faking. Those who thought that there was something big behind everything will be disappointed. Unavoidably disappointed. Three and a half stars.
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Rating the entire trilogy. Like in Reloaded, there are moments that really pissed me off, but as a whole it’s amazing, and the climax, when white is reunited with black, can’t be described other than superb, unexpected (though actually inevitable) and incredibly deep… PS: In the great order of things, the Battle of Sion is just eye candy, but that doesn’t alter the fact that it made my jaw drop.
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A sad and undignified ending to the series. Unarguably it has an underlying thought and depth to it (even though sometimes it is a bit of a problem finding it). But as for the rest; the intriguingly developing storyline around the Merovingian and Persephone trails off into nothing. And the amount of clichés in this exceeds anything seen in any other seriously intended movie over the past years. OK, maybe there are more clichés in Pearl Harbor and We Were Soldiers, but at least those movies don’t ride on the philosophical wave typical of the beginning of the twenty-first century. The effects are just for effect and not for the good of the movie. Needlessly long scenes and a completely different approach to the material than in the preceding parts. I have nothing against change, but it just doesn’t work here. It almost looks as if, paradoxically, apart from who plays Persephone, the only significant upside of the movie is the music in the last third. The chorals are surprisingly suitable for this “techno movie". The only flawless area is the audiovisual treat in the form of the final duel between Neo and Smith and it is a great shame about all of the wasted potential here. As excellent as part one was, despite it borrowing a lot of motifs from other movies, and part two was a great relaxing watch, unfortunately part three is nothing better than criminally mediocre.
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“Hey Larry, Joel Silver was here.” - “Yeah? And what did the old bastard want?" - “He said he had a lot of money for us if we wanted to shoot another two parts.” - “That’s great, bro! Let’s put something together, then. We have loads of ideas, we can put them all together and something will come out of it.” - “Cool. So, here we put this, and we put this here, here we drop that long dialogue scene, it’s just verbal filler, but who cares, they’ll survive. And, bro, it’s ten minutes long, and you know, ten minutes here, ten minutes there, and we have four hours, two hole films!” - “Yeah, you’re right. And here we could squeeze some sequence inspired by anime, the Japanese love that and they’re the second biggest movie market in the world. We can’t go wrong.” - “Yeah, and some love-story, too.” - “Hey, Andy, those heroic moments wouldn’t hurt and...” Enough with the snark, now I'm going to be dead serious, I'm going to be as serious as the heroes of the Matrix; so serious and lofty that in the wonder of their own loftiness they sound, in the words of Amadeus, as if they shit marble… One way to grasp the Matrix is to search and search for meaning, search for the key to the truth. But it's a bit like dropping the key to my place into a puddle, I’d have to find it because otherwise I wouldn't be able to get into my apartment, but truth be told, digging in a puddle is not very "interesting" fun. Just as much as digging through a pile of verbal ballast and suffering through seriously meant pathetic dialogues that lack a shred of insight. I would so much like to search and find the meaning, but the Wachowskis won't let me because of the form of their narrative. And yet The Matrix Revolutions could have been a great movie. The scene from the subway station, from the "intermediate section", was funny and awesome. Likewise, the ending itself, I'm not afraid to say, was breathtaking! But everything in between? Awful! Pathetic battle scenes cut from the Soviet film Liberation. The Wachowskis proved that I remembered my childhood years, when I went to see shitty Soviet war films for free that were full of pathos of the coarsest grain. “How old are you, kid?” - “Eighteen.” - “Should have said sixteen, I might have believed that.” - “All right, I'm sixteen.” - “The minimum age for the Corp's eighteen. Sixteen's too young.” - “The machines don't care how old I am. They'll kill me just the same.”... This is not a sample from a Soviet war movie, but from this film. The American kid wanted to fight and he accomplished a great thing. No, really some patterns don't change even after fifty years and it doesn't matter the country of origin. But despite these excesses, The Matrix Revolutions is not a stupid movie, although some of the interpretations are ridiculous. For example, the shape-shifting of the Oracle is explained by Matrix advocates as a Merovingian punishment, but the reality is much more prosaic. Gloria Foster, the actress who played the Oracle, died during the filming, so the Wachowskis helped themselves to this pathetic ruse. I have nothing against the concept of the Matrix, but the form, my friends, the form…
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Cut Reloaded and glue it together with the best of Revolutions and behold: that would be a film! Yet, after an unbalanced and melted intermediate link, Revolutions is a brisk spectacle that benefits from the chatter of Reloaded (there's no need to think about anything deeply anymore) and the visual mastery that The Matrix is famous for. It’s nice to look at, and the ending is really riveting, as is the message of the whole story. Plus it has a great soundtrack. I love this trilogy because it is not only "one", "two", etc., but is really a conceptual work that, as a whole, creates a huge potential universe that can be further populated. In addition, it allows you to engage your brain and create your own intertextual "matrix" with classics of world philosophy and literature. It may lead to exaggerated constructs, but thank God the "mass" story places such high demands on the viewer at all...
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