• 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)
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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
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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
  • A Masterpiece