Expositional philosophizing is also a part of the “Matrix” experience, and there’s a great line here from one of the film’s villains about fear and desire being the two human modes (you can practically imagine the line scribbled in Wachowski’s notebook). But these wordy passages also conceal the movie trying to move the goal posts, that the rules of the Matrix can change however its saga about cyber messiahs needs it to keep making sequels. And while the apocalyptic, real world action has always been less exciting than the stylized anarchy up in the Matrix, that gap of intrigue is felt even more here. Behind the screens, with Neo, Trinity, and others plugged in, certain returning members of the underground land of Zion like Niobe (Jada Pinkett Smith, aged forward) try and fail to convince you that this story absolutely needs to be told, and that THIS is the ultimate world-saving chapter, even though the franchise no longer feels dangerous. That latter note becomes all the more obvious when “The Matrix Resurrections” gives us a micro, cutesy, fist-bumping descendant of the sentinel machines that used to rip human beings to shreds.
It’s the action that proves to be the purest element here, robust and snazzy—for years we have been watching directors imitate what Wachowski did with her sister Lilly with “The Matrix” films, and now we can get caught up again in her fast-paced action that marries kung fu with acrobatic gunplay, often in lush slow motion. For all of this movie’s cheesy talk about bullet-time (almost killing the fun of being in awe of it), “The Matrix Resurrections” doubles up with certain scenes that combine two different slow-motion speeds in the same frame, painting some exhilarating, big-budget frescos with dozens of flying extras and hundreds of bullets. The film’s grand finale is an action gem, as it thrives on how much adrenaline you can get from layering multiple big explosions as things suddenly crash into frame, all during a high-speed chase.
And yet once the adrenaline from a sequence like that wears off, you can’t help but think about the guy who sat near Steven Soderbergh on an airplane and watched a clip show of explosive action scenes, virtually making the director want to quit filmmaking back in 2013. There’s incredible merit in the action seen in “The Matrix Resurrections,” but those aren’t the elements that free the mind of the medium like bold storytelling, like “The Matrix” preached and then became a game-changing classic, only to become a docket for satisfying shareholders. Blue pill or red pill? It doesn’t matter anymore; they’re both placebos.
Available in theaters and on HBO Max tomorrow.
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