The Matrix: Revolutions

Reviewed by Rich Drees

     When we last left Neo (Keanu Reeves), the prophesized “One” who would lead humanity out of its enslavement in a virtual reality prison called the Matrix by futuristic computers, he was lying in a coma next the comatose body of another freedom fighter whose mind had been taken over by duplicate of his computer world nemesis Agent Smith (Hugo Weaving). The computers’ machines had discovered the whereabouts of Zion, the freedom fighter’s underground city and were just hours away from launching an attack.

     Revolutions picks up right where Reloaded left off. Neo’s mind is trapped in an area outside of the Matrix controlled by a program called The Merovingian (Lambert Wilson). Trinity (Carrie-Anne Moss) and Morpheus (Laurence Fishburne) reenter the Matrix to try and free Neo. The trio then consult the Oracle (Mary Alice, replacing Gloria Foster who died mid-way through production of the two films) who tells Neo that the war between humans and machines will end that evening. While Agent Smith continues his takeover of the world within The Matrix, Morpheus heads back to Zion to help its defense against the swarming machine invaders while Neo and Trinity head towards the machine’s main citadel and Neo’s prophesized destiny.

     Watching The Matrix: Revolutions it is hard to believe that this movie was produced concurrently with its predecessor last spring’s The Matrix: Reloaded. Where the previous installment lacked cohesion in terms of plot and character development, Revolutions makes up for. Writing and directing team Andy and Larry Wachowski have concentrated more on characterization than they did in the last film. Fishburne opens up his Morpheus a bit, showing a level of emotion under the cool, stoic exterior. For once, Reeves and Moss actually make us believe their characters are in love. Unfortunately, while Reeves performance has certainly improved, Hugo Weaving’s Agent Smith has spiraled down to a hammy parody of itself.

     Revolutions does continue with the excesses of the last film. The initial attack by the machines on Zion lasts for nearly 20 minutes and is wall to wall visual effects overload. The S & M club that Trinity and Morpheus meet the Merovingian in takes the franchise’s leather fetishism to the extreme.

     The film’s climactic flying fistfight between Smith and Neo is visually a stunning set piece, but lacks any other kind of punch. The dialogue between the two meant to sum up the movies’ take on human perseverance (“Why do you keep fighting when you know you can’t win?” ”Because I choose to.”) seems right out of one of the preacher episodes of the original Star Trek series. The repeated use of thunder and lightening flashes to accentuate dialogue statements is cliché and in more than one instance visually recalls comic book artist Frank Miller’s masterpiece Batman: The Dark Knight Returns.

     Some fans may be annoyed that not every single plot line tied off in a neat bow at the end of the film (There’s never a really satisfying explanation for why Neo’s powers work in the outside world.), but the series’ major thematic ones are and that’s ultimately what counts. The sign of a good story can often be the audience wondering what will happen next with the characters once they’ve reached the end of the narrative. Perhaps Matrix fans should keep in mind the words of the Oracle from her meeting with Neo early in Revolutions: “Everything that has a beginning, has an end.”