La Matrice Résurrections
Matrix Resurrections
Matrix Resurrections
Réalisation:
Lana WachowskiActeurs·trices:
Keanu Reeves, Carrie-Anne Moss, Yahya Abdul-Mateen II, Jonathan Groff, Jessica Henwick, Neil Patrick Harris, Jada Pinkett Smith (plus)VOD (3)
Résumés(1)
Pour savoir si sa réalité est une construction physique ou mentale, Thomas Anderson (Keanu Reeves) doit à nouveau suivre le lapin blanc. Mais ce qu’il ne sait pas encore, c’est que la Matrice est plus forte, plus sûre d’elle et plus dangereuse que jamais. (Pathé Films)
Critiques (12)
That “meta” introduction was almost physically painful. Not because I have anything against meta-movies, but because I simply found the self-reflection banal, shallow and unimaginative. There’s nothing there that cheaper movies wouldn’t have made more interesting in the past. And I find it utterly embarrassing of Wachowski to smuggle such gibberish into the sequel of a Hollywood film after twenty years. Did they hold a gun to her head to make it? Fortunately, after a few minutes, it switches from this painful despair to the expected action sci-fi, which I like in concept, but which at the same time toils in many ways and doesn't make use of its potential and the various over-the-top themes that deserve elaboration. It seems that the main driving motive behind the film is a kind of nostalgia and a desire to give its heroes the well-deserved happy ending that they were not afforded in the original trilogy. By the way, the reviews about the weak action did not lie, there was really nothing that could make you jump from your seat. Although I found a couple of scenes to be relatively imaginative, the audiovisual experience of the fourth Matrix is rather sterile in the end, something that stands out especially when compared to the various cuts to the original films – each of those scenes has a more interesting "face" of its own than all the newly shot footage put together.
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The new Matrix first promises a lot of interesting and new ideas, and potentially an original development of the main character and the whole world, only to turn into a slightly sad film in the middle by a director who is not capable of executing any of these ideas to the end, and only manages to create a not very imaginative variation of what we have already seen. What makes it worse is the whole film vehemently tries to present itself as something innovative, ironic, and daring. But that desire to mock Hollywood blockbusters and the obsession with sequels, while also wanting to be a part of it all and grab a piece of the box office cake, ultimately appears somewhat awkward.
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I hate this cashgrab movie! The first blockbuster of the year where I physically suffered to finish watching it. The Matrix trilogy was revolutionary, but I'm not as die-hard a fan as others, so from the new Matrix I expected at least an entertaining action film, and what I got was an insanely talky romantic crap with cheap effects, boring actors, uninteresting dialogue, a convoluted plot where I was downright lost, a slapdash pace, and damn painfully dull and uninteresting PG-13 action – it was a shock. Just about everything was wrong here, and there wasn't a single scene that I liked in the least, which for a property like this is a big bad. Jupiter Matrix Fail. A downright offensive movie. Story 2/5, Action 1/5, Humor 0/5, Violence 0/5, Fun 2/5 Music 3/5, Visuals 3/5, Atmosphere 2/5, Suspense 1/5, Emotion 0/5, Actors 3/5. 3/10.
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Sense8 Reloaded. How do you evaluate a film that didn't meet any expectations, contains a lot of mistakes, and yet I would rather watch it again than Matrix Revolutions? I'm sticking with a slightly sheepish three stars because the first half is genuinely fantastic. Many parallels, clichés turned upside down, (bitter) commentary on pop culture and the dream factory itself – all intertwined with Keanu Reeves looking even more broken than usual. It's something different than anyone expected, and it works in almost every aspect. Unfortunately, doubts arise with the more action-oriented side of things, while a surprising and, for me, unwanted cameo from the Merovingian is accompanied purely by awkwardness. The entire staircase scene is poorly done, and the only way to overcome it is through Jonathan Groff, who for some reason is in this film and elevates it with each narcissistic performance. Lana Wachowski deserves respect for her initial vision, for the clear desire to bring back something/someone who cannot return, and for faithfully returning to the characters and storylines of all the films, not just the first one. It might anger many people, but even though it involves characters that I didn't need to see again, it concludes something that evidently had been and still is left open within it. Nostalgia is much stronger than genuine feelings, memories overshadow the true face of the film. I already have a great fondness for The Matrix Resurrections, but unfortunately it is beleaguered by problematic visual aspects, a fragmented Morpheus with one strange scene after another, and a strangely rushed ending that suddenly needed to pick up the pace after two and a half hours.
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The fourth Matrix comes with the ambition to show what has happened in all of the worlds since Neo’s seemingly last breath, i.e. not just the cinematic worlds inside The Matrix and the Matrix, but also the filmmaking and audience worlds outside of it. However, what the new film presents inadvertently proves to be much more thought-provoking than what it literally presents in particular instances of dialogue and scenes. Much has been made of how Lana, with her presumed absolute creative control, took the liberty of making a cheeky joke at the expense of Hollywood and its contemporary trends and pursuit of viewer comfort. Despite all of that, however, The Matrix Resurrections is not the rumoured anomaly, but in the end it largely remains merely another manifestation of the system. The greatest expression of creative freedom within the Matrix franchise remains the third instalment, which, in spite of everything, follows its own lighted path of techno-new age ethos and aesthetics in the style of The Watchtower. Conversely, the new Matrix notably ignores all of these levels. Instead of spirituality and philosophy, it dawdles over purely secular issues, and virtual ones at that. Whereas for some viewers this will be a confirmation of the fall of today’s world from the heights of thought into a self-indulgent presentation of its own would-be sophistication, from a step farther way, the effort to awaken that world may appear. Religionist interpreters of the original trilogy, according to whom its individual episodes correspond to the stages of awakening, contradiction and enlightenment, may see this as a step backward, whereby the franchise returns from nirvana to earthly matters, back to the marketing-heralded beginning. That may just be exactly what the world needs today. Not to accept an old messiah from a long-ago age, but to understand that the current stage of society is still not perfect, that true progress – technical and intellectual – never ends or, in the better case, we are still only at the beginning, only with a starting position that has shifted. It’s a similar case with everything that viewers expect from the new Matrix, at least in the sense of our expectations and, conversely, what Lana Wachowski is aiming for. Those who associate the three preceding instalments with innovation or progress in the area of action scenes will be disappointed or utterly pissed off by the confrontational ridicule that the fourth film offers. However, those who expect the Wachowskis’ work to go in new directions (through assimilation of the progress made by others before them) will not be disappointed. The Wachowskis have long been interested not in action scenes, but in the possibilities of narrative and the depiction of movement, and ideally the combination of both. Therefore, it may come as a surprise that The Matrix Resurrections makes very little use of Reeves’s impressive physical skills from years of working on the John Wick franchise. Some of the action scenes even feel completely haphazard. From the overall perspective, however, it can rather be said that they correspond to Neo’s gradual recollection of his abilities and it’s no longer about making the action an attraction, but they have already done that. The film is even more fascinating in the key dialogue scene and the variations thereof spread out over time and space, where the revolution in means of expression takes place. In many respects, the fourth Matrix is an even more inconsistent and, in its individual aspects, problematic work than the Wachowskis’ projects that immediately preceded it. But, again, it’s true that it offers something new, unseen before, fascinating and thought-provoking.
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(moins)
(plus)
An entertaining and surprisingly current coronavirus continuation. Reaction to the third Matrix will depend heavily on how much the viewers took the original trilogy, because the Wachowski sister keeps on making unhidden fun out of it from beginning to end. It mocks human sheep who want just to get on an enjoy life: why won’t the powers that be just leave them alone? It also ridicules the fact that this sequel was even being made, admitting that it was only for the money. Oh, and for love, love too. The special effects and action sequences are only mediocre, but the fights are at least quite easy to follow. All the revolutionary things that were so jaw-dropping in the first movie are now simply ordinary, expected, or else made fun of. The second half of this picture is rather headless chicken and a lot of things from it need explaining. I thought this movie lacked an overall message, but on the other hand I quite enjoyed watching this self-reflective or even cynical period to the series.
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The fourth film has a relatively interesting ratio in the cast of old familiar faces with newcomers to the franchise (Christina Ricci or Priyanka Chopra, for example). And this ratio decently represents the development of the entire Matrix film series. In an age of elevated cinematic sagas, Resurrections is a nostalgic genre blend with which it’s nice to experience a little of that viewer comfort. For now, the last film rehabilitated the whole tetralogy in my eyes and the lingering bad aftertaste of the second and third films slowly faded away.
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Maybe in a different world or reality, where the previous three films didn't exist, it would be a wow modern and cutting-edge blockbuster with all the hallmarks that are so hot today, or that Hollywood filmmakers want to make hot. However, given the existence of the original trilogy, the fourth film is half a mockery and half a slap in the face to the entire Matrix universe with its storyline. Basically three films rolled into one completely unnecessary reboot 20 years apart – how refreshing. I hope Grandpa and Grandma won't do it again after twenty years – there's always a reason why, it's a love story.
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A smart, entertaining, daring, surprising film that, like Nolan's Tenet, is begging for a second viewing, a more thorough examination, and therefore more audience enjoyment. And I'm happy to oblige because Matrix: Ressurections is not a redundant film at all, but more than an amazing conclusion to a great trilogy. On the one hand, it mocks the audience, on the other, it gives them exactly what they want (even if they didn’t know it). Lana Wachowski teamed up again with David Mitchell, who I think is an absolutely brilliant multi-genre writer, to write the screenplay, and the result is such a joy to watch, not just because of the production design, but because of everything that happens in the film. From the cast, apart from the amazing Keanu Reeves (no, he's not playing John Wick, although he looks it, he's just Neo) and Carrie-Anne Moss, I would like to highlight Jessica Henwick.
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Pour moi, tout comme avec Mortal Kombat l’année dernière, c’est un peu le « plaisir coupable » de l’année jusqu'à maintenant. En tant que film séparé, je trouve que le quatrième Matrix ne tient pas fort la route. Sans un minimum de contexte et d’ironie, il est difficile de l’apprécier. Pourtant, en le voyant au cinéma, je jubilais en me demandant comment un tel scénario avait pu recevoir le feu vert aux studios. En fait, ça m’a un peu fait penser à la troisième saison de Twin Peaks, quand David Lynch s’est libéré des contraintes et est sorti des conventions, laissant de côté des personnages clés et se mettant à dos une partie du public par la même occasion. Je dirais qu’il y a deux cas de figure : soit vous attendiez impatiemment le quatrième Matrix et serez probablement plus déçu que jamais, soit vous voyez l’original comme un chef-d’œuvre à part entière sans avoir embrayé sur les suites et vivrez alors une expérience amusante et intéressante – je suppose.
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Dans le cadre de la nature numérique de l'ensemble de la série, il est plus ou moins logique de considérer le nouveau volet après une pause de dix-huit ans comme un « redémarrage du système » et de le compléter par une mise à jour moderne qui différencie fondamentalement le film des précédents, tant sur le plan de l'atmosphère générale que de la forme. Cependant, le traitement final soulève néanmoins plusieurs doutes. Le quatrième Matrix sera sans aucun doute accueilli de manière mitigée, car les raisons justifiant son existence proviennent principalement du fait qu'il ne s'agit pas tant d'un bon film que d'un film narrativement intéressant, audacieux sur le plan cinématographique, très atypique dans le contexte des suites de séries de films célèbres, et unique par son approche de lui-même et du phénomène matriciel dans son ensemble, qu'il suit de très près. D'un côté, le film déçoit par ses scènes d'action lamentables, sa ligne relationnelle avec les principaux héros de la trilogie originale est étonnamment vide émotionnellement, et le développement de la mythologie fictive est fragmenté et inachevé (y compris plusieurs impasses). D'autre part, il combine également de manière assez amusante de nombreux styles narratifs, allant d'une méta approche légère et ironique de la conscience de soi à la réminiscence nostalgique et une routine de l'action tendancieuse, en passant par la romance de science-fiction, ce qui permet de percevoir Matrix Resurrections comme un film conceptuel qui présente progressivement différentes versions bêta stylistiquement différentes d'une suite potentielle de la trilogie Matrix, et les rassemble en un tout narratif. Il peut donc être recommandé non pas nécessairement pour ses qualités changeantes et discutables, mais pour sa forme narrative remarquable et stimulante.
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A pathetic and lackluster cashgrab that spends a third of its running time reminiscing about previous installments, another third illogically fumbling with a confused Reeves, and the rest with attempts at spastic jokes, inept attempts at cool scenes (Harris' speech about bullet time was sooooo lame), and action that desperately lacks inventiveness. It's naive the way Wachowski tries to dig characters out of their graves who are now being portrayed by different actors (because many of the originals, thankfully, refused). The world they’ve built has some perspective and potential, but it's all for naught when the script uses DOOM-like cheats to achieve its goals. I miss the elegance, tension, logic, and awesome philosophy of reality vs. the virtual world incorporated into the originals. What the hell went wrong with "Mr. Anderson"? I fell asleep out of boredom.
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