Don’t hold the other brilliant films from 1999 against The Matrix– just because it isn’t the best film of the year doesn’t mean it isn’t a magnificent cinematic achievement
An inarguable triumph of special effect and stunt work— but that’s not all– also narrative (the story is extremely engaging) and visual style (it is meticulously designed with color)
An inarguable triumph of special effect and stunt work— but that’s not all– also narrative (the story is extremely engaging) and visual style (it is meticulously designed with color)
It is hard to believe this is Wachowski’s second film (Bound in 1996)—so much confidence and polish—this is a big film, big set pieces, big budget, highly ambitious (in themes and aesthetics)
It is hard to believe this is Wachowski’s second film (Bound in 1996)—so much confidence and polish—this is a big film, big set pieces, big budget, highly ambitious (in themes and aesthetics)
the film is intelligent, don’t let anyone tell you it isn’t just because there’s the occasional regrettable action film one-liner like “I’m going to give you the finger” and “My way or the highway” stuff
a legit meditation on fate and choice, discussions on reality,
taps into multiple strands of philosophy like Star Wars did with the force, trinity, neo, “hallelujah, you’re my savoir, man. My own personal Jesus Christ”. Judas and resurrection—
The costume work– black hair, shades, leather, pale skin—assurance in this worldbuilding, oozing cool and consistency
The costume work– black hair, shades, leather, pale skin—assurance in this world, oozing cool and consistency
A gorgeous split diopter shot early in the film
A gorgeous split diopter shot early in the film
A cinematic achievement in believable color design in nearly every frame. The Matrix is flooded with greens and blacks. Like a Fincher film, even the whites are light green. The phone is green, Fishburne’s tie, endless objects
The music soundtrack is strong and pairs well with the world built by the Wachowski, Rob Zombie, The great drop from Rage Against the Machine at the end—but the actual original score by Don Davis is a miss. Have you ever heard of Don Davis? I haven’t before or after and it looks like for good reason. It’s not a big flaw or anything- just certainly not a strength of the film and it seems weird when for films this big, popular and iconic we’re used to memorable scores whether it be Titanic, John Williams’ work, Hans Zimmer, etc
Sort of a blending of Lewis Carroll (Alice is a big part of this film), Phillip K. Dick dystopia, the hacker culture in the 1990’s
The performances are top notch. Keanu Reeves is perfect for the role, Fishburne a daunting figure as well—a great actor built for these monologues. I think Hugo Weaving steals every scene he’s in. His diction- every line reading. It’s clear how good he is because the other two agents look ridiculous next to him. He’d probably rank third when ranking villains between the Heath Ledger Joker and Christoph Waltz Inglourious Basterds role but I think he belongs in the conversation for great semi-recent cinematic villains.
I mentioned it above the green in the mise-en-scene and design is really something. The kitchen of the Oracle, the corporate building color of the big shootout slow-motion (Wild Bunch or end of Bonnie and Clyde slow-motion bullet ballet moment)
building color of the big shootout slow-motion (Wild Bunch or end of Bonnie and Clyde slow-motion bullet ballet moment)
The entire Oracle scene with the vase falling is just very smart- telling him what he needs to know
The entire Oracle scene with the vase falling is just very smart- telling him what he needs to know — and of course green, from the opening titles to the end
Not a single 100 on metacritic. A big swing and a miss from Travers at Rolling Stone too which is rare
visual motif that pervades the entire work
During the subway showdown there’s a great western iconography Leone moment showing the hands of Weaving and Reeves
Incredibly intelligent film. Simply magnificent. One of the finest movies of the 1990s. If you were a Metacritic critic, what score would you give it? You mention there are no 100 score on the site. So i’m just curious as to what you would rate it.
1)I dont get it. Isnt 100 supposed to be a high, mega masterpiece rating? Even Ebert threw around 4/4 quite often. If you rate something a 100 percent, isnt it a near perfect top 100 of all time movie?
2) if Matrix didnt get a 100 , or a 4/4 from Ebert or even reach the top 250 of sight and sound, how is it currently a top 280 of all time movie? What other famous lists do you think TSPDT uses?
I think it is a rare critic that reserves a 100 for only all-time great masterpieces. If I worked as a film critic I would probably aim to give 4 stars or 100 to anything that I would happily place in a year end top 10 list.
Ah okay- thanks. I guess I do it differently than most critics do. For example Ebert gives lots of 4/4s.
Do you know what lists TSPDT uses since The matrix is a top 300 masterpiece on the consensus yet it has no 100s on MetaC. That means many critics don’t even consider it a top 5-10 movie of 1999!
Hey drake! This might be a interesting question for you.
What are the best anagnorisis moments in cinema history?(This word means when a character realizes the situation he is in. He sees the truth. He sees the ‘light’.)
What are some of the best character arc conclusions in cinema history? (this question is somewhat related to the previous one)
The most recent example(from the movies I’ve seen) I can think of is from the Matrix. When Neo finally learns he can only unlock unlimited power by freeing his mind. This makes him stop the bullets. He finally realises the Matrix is nothing but code.
If the story is told convincingly and the character has been developed well, the moment and impact of the anagnorisis can be incredibly profound(like in the Matrix).
Another example is Aguirre realizing that he has become completely obsessed and he is all alone on the ship. He realised his madness has consumed him.
What do you think Drake? Do you know any other examples?
john wayne at the end of the searchers,the guy from space odyssey, dorothy and the two (gene kelly and debbie reynolds) are all great character arc ending.
John Wayne is a great example. Dave Bowman (Keir Dullea) ( that guy) is also a somewhat good example. The moment of shock and confusion he experiences at the end before his final encounter with the monolith is really incredible.
Speaking of character arc what about Michael Corleone?
@Drake- completed the trilogy yesterday and i loved every second of it. I also loved the third part as well. I wanna thank you because I came to know about them through your site.
Could you recommend me some more sci-fi/ action / thriller movies or franchises with an artistic ambition.
@M*A*S*H– Well that’s great. Hmmm- Graham has a few here for sure. You mean like The Terminator (1-2), Alien (Alien, Aliens, and Prometheus are the best I think but they’re all worth watching), the 1990 Total Recall is great, Mad Max, Minority Report
It is neither sci-fi nor franchise, but I think you would love the movie Hero. I hope Drake will see it again as well. It actually shares some similarities to The Matrix, including unbelievable combat scenes, gravity defying characters, a shifty perception of reality, brilliant color design (truly some of the best color work in history in Hero), and a theme of rebelling against the system. There are even more similarities between Hero and Kurosawa’s Ran, including massive scope, themes of unity and fate, and colorfully epic battles. There are many other influences (the narrative is actually closer to Rashomon than anything else), but it is an entirely unique experience, with some cinematic techniques used better than they have been almost anywhere else. Most importantly, it is one of the most beautiful films of all time, and Zhang Yimou is simply one of the best mise-en-scene creators alive, especially with color work, location choices, and occasional symmetry.
@Drake and @Graham- you are right, have seen most of them. Minority report & both terminators are on my watch list and thank you @Drake for recommending total recall, I didn’t knew about it.
Fishburne has a screen presence that’s second to no one but I strongly believe that Hugo Weaving is the best performance in the entire trilogy. He’s just beyond words. He makes the movie better. I’m downgrading the film if he’s not there. Looking back at 1999 , Law is not the only competition cruise has to face. Weaving is right there and Weaving will give him an even stronger competition as one of the best villains of cinema history.
Incredibly intelligent film. Simply magnificent. One of the finest movies of the 1990s. If you were a Metacritic critic, what score would you give it? You mention there are no 100 score on the site. So i’m just curious as to what you would rate it.
@Azman – 100
2 questions drake,
1)I dont get it. Isnt 100 supposed to be a high, mega masterpiece rating? Even Ebert threw around 4/4 quite often. If you rate something a 100 percent, isnt it a near perfect top 100 of all time movie?
2) if Matrix didnt get a 100 , or a 4/4 from Ebert or even reach the top 250 of sight and sound, how is it currently a top 280 of all time movie? What other famous lists do you think TSPDT uses?
I think it is a rare critic that reserves a 100 for only all-time great masterpieces. If I worked as a film critic I would probably aim to give 4 stars or 100 to anything that I would happily place in a year end top 10 list.
Ah okay- thanks. I guess I do it differently than most critics do. For example Ebert gives lots of 4/4s.
Do you know what lists TSPDT uses since The matrix is a top 300 masterpiece on the consensus yet it has no 100s on MetaC. That means many critics don’t even consider it a top 5-10 movie of 1999!
What do you think of the movie?
Hey drake! This might be a interesting question for you.
What are the best anagnorisis moments in cinema history?(This word means when a character realizes the situation he is in. He sees the truth. He sees the ‘light’.)
What are some of the best character arc conclusions in cinema history? (this question is somewhat related to the previous one)
The most recent example(from the movies I’ve seen) I can think of is from the Matrix. When Neo finally learns he can only unlock unlimited power by freeing his mind. This makes him stop the bullets. He finally realises the Matrix is nothing but code.
If the story is told convincingly and the character has been developed well, the moment and impact of the anagnorisis can be incredibly profound(like in the Matrix).
Another example is Aguirre realizing that he has become completely obsessed and he is all alone on the ship. He realised his madness has consumed him.
What do you think Drake? Do you know any other examples?
john wayne at the end of the searchers,the guy from space odyssey, dorothy and the two (gene kelly and debbie reynolds) are all great character arc ending.
John Wayne is a great example. Dave Bowman (Keir Dullea) ( that guy) is also a somewhat good example. The moment of shock and confusion he experiences at the end before his final encounter with the monolith is really incredible.
Speaking of character arc what about Michael Corleone?
@Drake- completed the trilogy yesterday and i loved every second of it. I also loved the third part as well. I wanna thank you because I came to know about them through your site.
Could you recommend me some more sci-fi/ action / thriller movies or franchises with an artistic ambition.
I assume you’ve already seen them, but Blade Runner, Star Wars, and The Dark Knight trilogy all fall under all your criteria.
@M*A*S*H– Well that’s great. Hmmm- Graham has a few here for sure. You mean like The Terminator (1-2), Alien (Alien, Aliens, and Prometheus are the best I think but they’re all worth watching), the 1990 Total Recall is great, Mad Max, Minority Report
It is neither sci-fi nor franchise, but I think you would love the movie Hero. I hope Drake will see it again as well. It actually shares some similarities to The Matrix, including unbelievable combat scenes, gravity defying characters, a shifty perception of reality, brilliant color design (truly some of the best color work in history in Hero), and a theme of rebelling against the system. There are even more similarities between Hero and Kurosawa’s Ran, including massive scope, themes of unity and fate, and colorfully epic battles. There are many other influences (the narrative is actually closer to Rashomon than anything else), but it is an entirely unique experience, with some cinematic techniques used better than they have been almost anywhere else. Most importantly, it is one of the most beautiful films of all time, and Zhang Yimou is simply one of the best mise-en-scene creators alive, especially with color work, location choices, and occasional symmetry.
@Drake and @Graham- you are right, have seen most of them. Minority report & both terminators are on my watch list and thank you @Drake for recommending total recall, I didn’t knew about it.
[…] The Matrix – Wachowski […]
Fishburne has a screen presence that’s second to no one but I strongly believe that Hugo Weaving is the best performance in the entire trilogy. He’s just beyond words. He makes the movie better. I’m downgrading the film if he’s not there. Looking back at 1999 , Law is not the only competition cruise has to face. Weaving is right there and Weaving will give him an even stronger competition as one of the best villains of cinema history.