And so the saga of the messiah Neo (Keanu Reeves) ends with a bang instead of a whimper in The Matrix Revolutions. Too bad. Since the original made its debut in 1999, Andy and Larry Wachowski’s sequels have taken on an air of self-importance. Reloaded, the second entry in the series, caused the curious to leave theaters scratching their heads, unable to make sense of the convoluted plot. Exactly what was Neo’s purpose and how did the Architect (Helmut Bakaitis) and the mysterious Merovingian (Lambert Wilson) fit into the picture?
For those coming in late, the Matrix is a computer program that simulates
real life when, in truth, humans are enslaved and used to fuel a world run by
machines. In the final chapter of the Matrix trilogy, a small group of
human revolutionaries, led by Morpheus (Laurence Fishburne) and Niobe (Jada
Pinkett Smith), fight to save their outpost, Zion, from an approaching armada
of machines. At the same time, Neo and his main squeeze, Trinity (Carrie-Anne
Moss), set out to destroy Machine City.
With their kitchen-sink theology, the first two Matrix films were far
too thematically cumbersome and contradictory. Revolutions is no exception.
While Neo and his archenemy Agent Smith (Hugo Weaving) suffer from existential
angst, the notions of predestination, self-actualization and free will clash
at every turn. The Wachowski brothers, of course, believe these philosophical
questions can be resolved through extreme physical action.
Despite flashy special effects and impressive set pieces, it all is much ado
about nothing. Though the Matrix trilogy professes to be about individuality
and independent purpose, the movies themselves are slaves to the very technology
they would condemn. If the Wachowskis had the guts to include more quiet, introspective
moments, then I truly would have been impressed instead of feeling bludgeoned
and bored.
What other critics are saying. . .
Brother Bear [G] An American Indian, who seeks vengeance
against a bear, is turned into a bear. “A play- it-safe pastiche of familiar
Disney tropes, from the senseless killing of a poor animal to the headstrong
young adventurer to the ragtag comic relief to … well, you can fill in the
rest.” (Gene Seymour, Newsday)
Parkway Pointe, ShowPlace East
Elf [PG] A giant elf (Will Ferrell) wreaks havoc
on an elf community so he’s sent away to find he true identity. “Wan Christmas
concoction.” (Ed Park, Village Voice)Parkway
Pointe, ShowPlace East
Finding Nemo [G] Animated underwater tale. “An upbeat, sentimental
fable about a fearful father fish and a rebellious son.” (Stephen Holden, New
York Times) White Oaks
In the Cut [R] A New York writing professor, Franny Thorstin (Meg Ryan),
has an erotic affair with a police detective. “A mess.” (Peter Travers, Rolling
Stone) Parkway Pointe
Love Actually [R] Five weeks before Christmas, and love is in the air
for a large cast of characters who converge in London. “A roundly entertaining
romantic comedy, Love Actually is still nearly as cloying as it is funny.”
(Todd McCarthy, Variety) Parkway Pointe
Matchstick Men [PG-13]A con artist and his sidekick are about to pull off a swindle when the con’s teenage daughter shows up. “Passes the time in a pleasant way then disappears like a carelessly placed wallet.” (Jeffrey M. Anderson, San Francisco Examiner) White Oaks
Mystic River [R] Three childhood friends are reunited after one loses
a daughter. “A haunting, ambitious but ultimately flawed film that treads some
of the same somber moral territory director Clint Eastwood explored in Unforgiven.”
(Jonathan Foreman, New York Post) ShowPlace West
Radio [PG] The story of a relationship between a
mentally-challenged man nicknamed “Radio” and a prominent high school football
coach. “A lot of whitewash is poured over a subject solely to wring emotion
from the hapless viewer.” (Jami
Bernard, New York Daily
News)ShowPlace
West, ShowPlace East
The Runaway Jury [PG-13] A gun manufacturer’s on
trial; a juror and a woman on the outside attempt to sway the outcome. “It’s
proof, if any is needed, that [John] Grisham knows more about bestsellerdom
than he does about law.” (Michael Atkinson, Village
Voice) ShowPlace West,
ShowPlace East
Scary Movie 3 [PG-13] Cindy must investigate mysterious crop circles
and videos, and help the President prevent an alien invasion. ShowPlace West,
ShowPlace East
School of Rock [PG-13] Jack Black gets kicked out of a band and starts
substitute teaching. “Funnyman Jack Black was born for this role.” (Jeanne Aufmuth,
Palo Alto Weekly) ShowPlace West
Seabiscuit [PG-13] The horse, its jockey, and the men who made them
famous. “Standout alternative . . . to an oft-deadly sequel summer.” (Mike Clark,
USA Today) White Oaks
Secondhand Lions [PG] A shy, young boy is sent by
his irresponsible mother to spend the summer with his wealthy and eccentric
uncles. “An enjoyable vehicle for its two stars — and the maturing Haley Joel
Osment.” (William Arnold, Seattle Post-Intelligencer)ShowPlace West
The Texas Chainsaw Massacre [R] The only known survivor of the killing spree comes forward to tell the complete story.”Not only is this useless ‘revision’ ignorant of history, it panders to its modern audience with look-Ma visual brouhaha.” (Ed Gonzalez, Slant) Parkway Pointe, ShowPlace East
This article appears in Nov 6-12, 2003.
