Postmodernism

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I don’t know why, but it hasn’t struck me how long it’s been since the original Matrix trilogy until I’m already watching the fourth, released last week and again directed by Lana Wachowski (Lilly Wachowski remained a co-writer). Because Matrix revolutions released in November 2003, the Wachowskis turned down annual offers from Warner Brothers to make a new Matrix, and it was not until the death of their parents that they changed their minds. “I couldn’t have my mom and dad … yet all of a sudden I had Neo and Trinity, arguably the two most important characters in my life. It was immediately heartwarming to find these two characters alive, and it’s super simple. You can look at it and say, ‘Okay, these two people die, and okay bring these two people back to life, and oh, doesn’t that feel good?’ Yeah, it’s done! It’s simple, and that’s what art does and that’s what stories do. They comfort us and they are important.

Lana Wachowski is right, and I was both relieved and frustrated by the movie she made to mourn her parents and her own franchise, a movie so popular and ubiquitous that almost every aspect of it, especially “redpill / bluepill, “long ago seeped into the groundwater of global popular culture. Matrix resurrections is not new Matrix movie as much as it’s a movie about if there was a new one Matrix movie. I’ve seen a number of people compare it to David Lynch’s career review and expansion in Twin Peaks: the return, and although it is superficially there in places, it is not developed at all. Lynch’s Revisit was an intense meditation on the evil and futility of “good people” in the face of colossal and devastating destruction; Wachowski’s take on The matrix, his place in it, his place in the world and what made this first film so amazing, starts off as a whim and ends up getting bleak and boring.

For 20 years, Neo, aka Thomas Anderson (Keanu Reeves), has been back in The Matrix. In this version, he’s a world-renowned game designer responsible for The matrix trilogy. In Resurrections, the shots of the first three films are displayed as if they were video game clips. During a brainstorming session at Anderson’s video game business, young employees come up with words and phrases that they associate with “what made The matrix important “:” bullet time “,” trans politics “,” technological futurism “,” postmodern theory “, and more. I wish the film would stay on this path; instead, it quickly goes into … yet another attempt at making a new Matrix movie. Haven’t you watched the first hour of your own movie? Or the first two suites? You can’t beat this prime!

After just an hour, Anderson is back to being Neo, saved by a new generation of techies outside of The Matrix who worship Neo, Morpheus and Trinity, who calls themselves “Tiffany” in this current version of The Matrix and is the subject of the rest. of the quest for the film. As soon as Neo gets out of that pod and starts looking for Trinity, the movie becomes even more boring and obnoxious than the previous two sequels, which must benefit in hindsight. Yet, as much as superfans and the Wachowskis themselves insist, it was never mythology or philosophy that made The matrix what it was, and it certainly wasn’t the love affair between Neo and Trinity.

I understand Lana Wachowski’s motivations for making this movie, and I’m glad she did it that way rather than another new action movie. It is strange, misshapen work that millions of people will see. It’s done in a way that I find really interesting; I just wish it was better and more supported. And what is garbage CGI? I swear the graphics in the original trilogy were much better. It was like watching a video game, Abel Ferrara’s Siberia had better CGI.

—Follow Nicky Smith on Twitter: @nickyotissmith