The Matrix Revolutions
Cámara:
Bill PopeMúsica:
Don DavisReparto:
Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, Ian Bliss, Collin Chou, Lachy Hulme, Nathaniel Lees, Harry Lennix, Robyn Nevin (más)Streaming (5)
Sinopsis(1)
Neo, Trinity. Morpheo. Ellos y otros héroes se encuentran en la antesala de la victoria final o la aniquilación en una batalla épica contra las máquinas en este espectacular y sorprendente capítulo final de la trilogía. Para Neo, significa adentrarse más lejos de lo que cualquier humano se haya atrevido a ir: un viaje hacia el corazón de la amenazadora ciudad de las máquinas y un enfrentamiento contra el más poderoso programa, el agente Smith. (Warner Bros. España)
(más)Reseñas (11)
Trama más tangible y con sentido, menos pseudofilosofías y acciones interesadas por el efecto que en Matrix Reloaded. Estoy satisfecho. Hay que reconocer que la primera hora es aburrida, pero la posterior «guerra de las máquinas» es asombrosa. Si hubiera habido más emoción en el duelo digital final entre Neo y Smith, la tercera película habría estado una clase por encima de la segunda. El final de la película es adecuado a la pseudoprofundidad que pretendía tener toda la saga. Los que pensaban que había algo grande detrás de todo esto se sentirán decepcionados. Inevitablemente decepcionados. ***1/2
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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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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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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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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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Drops continue to fall, the heroes remain the same, but that code has somehow changed for us. It is indeed green, but it does not fall smoothly. It stutters and instead of a quality storyline, it flows with unjustified monologues, unbelievable dialogues, and sadly dysfunctional action scenes. When I think back to the perfection of the first installment, the precisely defined characters, and the unforgettable two hours that can be watched endlessly without losing their magic, it feels unfair that the Wachowskis have fatally let me down and forever ruined one unforgettable story for me. Morpheus has become just a motivational figure, Niobe herself has no role, regardless of rescuing anyone, and only the tangible bond between Neo and Trinity gives me a feeling of some vitality. And even the perfect final battle does not repair that tainted impression for me. The program has performed an invalid operation and will be terminated.
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All's Well That Ends Well. Monica Bellucci changed her clothes once more, the young comedian kissed the soubrette again, and it was all over. Whoever is interested in the world in which mankind lives underground can continue with Cleopatra 2525.
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There are fewer stupid dialogues and more proper adrenaline action with a drive that will plaster the viewer to their seats. The Battle for Zion is brilliantly shot, the greenish camera filters and the typical visual style of the Wachowskis are not missing. Don Davis does a flawless job and composes his best musical score. It is difficult to compare Revolutions any deeper with the previous parts, which only served as a support for the final installment. The biggest, the most monstrous and the most ambitious of the entire trilogy. A grand finale as it should be.
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The action is bombastic and, most importantly, the seemingly endless battle with the machines has the makings to enter the company of some of the most iconic scenes. But that script! Compared to the lacklustre second part, it’s considerably sharper, with less bullshit, and subordinates almost everything to the great effect, or rather to the exterior, but it again fails to impress the viewer in any way or with any idea, to squeeze at least a pinch of emotions out of them... I admittedly rode the wave of the spectacular action, but I actually kept waiting and waiting and asking myself what the hell can come out of this? And then suddenly the end came and all I could feel was disappointment. That was supposed to be it? Is this what everyone's so crazy about? After the fantastic first one, the directors must have run out of breath and Reloaded and Revolutions are just a bloated bubble, we can only shake our heads in disbelief. This time, there was no déja vu.
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Revolutions, while retaining most of the ills of the second installment, quite adeptly reduces their intensity. The digital sequences now primarily involve clashes of dirty metal, which is easier to animate and thus doesn't take away from the intensity of the Battle of Zion with mangled CGI. Plus the exoskeletons are really cool. The dialogue here is aware that we're about to close up shop, so it's finally going somewhere. Oh, and the Zion Respect Festival scenes are thankfully pretty strictly limited to war sequences in industrial dock settings. But why five stars? In Revolutions, The Matrix has finally managed to conclude a truly ultimate cyberpunk masterpiece (or rather, esocyberpunk masterpiece) and has stopped dodging the fact that the only options are that reality is nothing or that reality is everything. Codes are reformatted into atoms, minds create matter, all as a result of electrical connections between neural systems. It's all about electricity. The Matrix is actually a bit of an anti-humanist series, telling us how humanity's only goal is to destroy the machines, while the machines' main goal is to adapt to humanity, which makes them undergo more than just one problem, including fatal ones.
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As I wrote in "Matrix Reloaded", these two movies should be evaluated together because they work best together. Yes, it is sometimes too commercial and on the other hand sometimes too philosophical without actually saying anything. One is actually just going in circles and there is nothing to grasp. However, when it comes to the final scene, where Neo has to reach the main brain and either win or lose, it always touches my heart and gives me chills. It definitely didn't fulfill what the first movie promised, but I can't help it, with distance I'm not actually that disappointed.
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