I have a guilty pleasure for late 90's early 00's dystopian films that your older brother probably watched while scrolling 4chan. Bias aside, mise-en-scene in characters/setting was cool, placement in time (post-singularity) is interesting (but slightly ironic given the likely IT-forward audience), but there will always be a prolonged eye-roll from me when a heterosexual romance leads to the plot conclusion :/
83/100 (..1) Ekibin içindeki operatörün tekrar doğmasını anlamadım. Silah ile yanmış olmalıydı. - 2) Filmin sonlarındaki aksiyon sahneleri heyecanlı olsa da çok saçma, klişe... Şimdi keyifle övebilirim. Film sistem karşıtlığını, direnişin hak olduğunu, anarşizmi çok iyi gösteriyor. Kaderciliğe-dine darbe vurup, insanların bakış açısını değiştirmesini öğütlüyor. Felsefesi tabiki sanat filmleri kadar derin değil.)
A visual feast for the eyes with impressive action and a strong universe with interesting characters. It made Hugo Weaving a star as one of the best villains in movie history and sunglasses cool and leather fashionable. Still it is not that a original story as some want us to believe. Series like "Twilight Zone" and "Star Trek" have played with this "life is but a dream or computer program" for years.
This sci-fi/thriller from the early 2000's has become a sort of fan favorite and introduction into the science fiction genre for many others because of its immense popularity. I thoroughly enjoy this movie's deep dive into the paradoxes that we as humans face and solve every day of our lives. This movies director(s) Lana and Lilly Wachoowskis did an excellent job in the story telling aspect of this film and favorite.
Is it police state pageantry or dopey dystopia? Either way a well spring of modern alternative political speak and text book conspiracy theory lore. Perhaps the Metropolis of it's era, in pellets of prophecy if not scale, it has a relatively thoughtful core beneath the surface acrobatics which is usually missing in most of it's genre relatives.
Every so often a film comes along that redefines the sci-fi genre for another generation. 'The Matrix' was one of those films marrying the worlds of cypher punk, science fiction and Hong Kong style martial arts aided by excellent storytelling and ground breaking visual effects. The Wachowski siblings delivered a film of its times that stands up well near two decades later.
It feels like the characters are non synchronized with emotional development of the story, which results in absence of any catharsis once or ever. And still it does feels like the catharsis was the whole point of the movie. Keanu Reeves seems non invested in a character that serves his purpose only as a plot device, while the rest of the cast is strong enough to compensate the lack of the real hero. Over-appreciated.
If you don't interpret the movie as a cheap, "fuck-the-system", antiestablishmentarian allegory, but focus interpretation-wise on individuality and social identity, then it all makes more sense and you can appreciate better the perfection of this movie's masterful film-making.
After a recent theatrical screening, "The Matrix" still proves lightyears ahead of the modern Hollywood blockbuster with thoughtful writing, superb performances, stellar production design, and a driving score from Don Davis. Ironically, it's the action sequences that feel the most dated, while the storytelling remains surprisingly intelligent and even moving in its exploration of faith, love, and sacrifice.