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Post all comments about The Matrix: Revolutions here.





Eric Beltmann, this means you.

[mfritschel]

Worst movie of the year!

[the night watchman]

I'm catching it tomorrow. mfritschel, are you being facetious or do you seriously think it's the worst movie of the year? Remember, 2003 also includes Bad Boys II.
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"If you're talking about censorship, and what things should be shown and what things shouldn't be shown, I've said that as an artist you have no social responsibility whatsoever."

-David Cronenberg

[beltmann]

[mfritschel]

Okay, maybe not worst movie of the year, but definetly one of the biggest disappoinments I've had, as far as movies are concerned, in a long time. Even more disappointing then the Packers this season!

[Mark Dujsik]

If you ever want advice on how to ruin a franchise in one fell swoop, just take a look at Revolutions. Depressing.
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"Film lovers are sick people."

--Francois Truffaut

10 Best Films of 2006

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[the night watchman]

Well, maybe I wasn't expecting as much as everyone else, but I thoroughly enjoyed it. Sure, it's all surface, but what surface! I was looking for eye-candy, a solid story line, and some surprises, and it delivered. I think much more was "explained" than it seems most reviews give it credit for, but the logic and rationale are all completely locked within the movie itself. You're not going to find any practical life lessons here. You will find a kick-ass popcorn movie, though. I couldn't have expected anything more significant than that. Michael Bay and Paul WS Anderson should be taking notes.
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"If you're talking about censorship, and what things should be shown and what things shouldn't be shown, I've said that as an artist you have no social responsibility whatsoever."

-David Cronenberg

[Danny Baldwin]

Ew...I hated it. Aside from the killer special effects, everything else was abominable. What a bad way to end it.
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Danny Baldwin

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[beltmann]

Does REVOLUTIONS have a message? I was rolling my eyes within five minutes, but the philosophical hoohah isn't what disappoints me.

I might describe it as eye-popping, except I felt like it was merely the greatest screensaver ever. To my eyes, all of the mystery and human appeal set forth in the first picture has been completely abandoned; both sequels are so controlled by CGI, hardware, and technique that it's clear the machines have already won. (When our most popular trilogy about saving humanity is dominatedby endless, endless, endless machine guns, it's game over.) Ever since Neo left his humanity behind in the first film, I haven't identified with a single one of these stoic characters--they're so monotone, so robotic, they might as well just admit they have more in common with the machines than with us. (I'd rather hang out with the Frenchman and Bellucci than any of the heroes--at least they have personalities.)

Trinity's fate left me cold. I've never felt the passion between Trinity and Neo; if they weren't constantly insisting otherwise, I'd swear they barely knew one another.

I will say I very much enjoyed the climactic showdown between Neo and Agent Smith, primarily because it seemed like every martial-arts showdown taken to its logical extreme. Clever action there, at least. I'll also add that my reaction may have been influenced by the fact that I saw REVOLUTIONS immediately after screening MASTER AND COMMANDER, which ranks as one of the greatest adventure pictures I've seen in my life. I don't say that lightly, either.

Eric

[matt header]

I saw "Revolutions" last night, also. I like it, for as much as I like it, because it does get you to think over how fate and chance interact in a world supposedly based solely on programmed and logical reasoning (the predictability of computers and the irrationality of humans has always been my favorite aspect of this trilogy). That said, it was the only thing I liked about the movie: even the most intriguing philosophical quandaries are delivered with monotonous uncreativity, the emotion of the storyline is diminished by a grim necessity to be and look "cool," and the ingenuity of the special effects has long since turned into pointless show-off. (Was there a point to Neo's bullet-time twisting on top of that roof in "The Matrix"? Yes, and it was amazing. Is there a narrative or theoretical point to Neo's fist slamming in ultra-ultra-slow motion into Agent Smith's face? I don't think so.)

And people have been calling "Kill Bill" shallow - that movie has more spectacle, emotion, and bravura than the last two "Matrix" movies put together.

[beltmann]