|
Andy & Larry Wachowski's "The Matrix" |
"The Matrix" Dimension Films. Director: Andy & Larry Wachowski. Writer: Andy & Larry Wachowski. Cast: Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Joe Pantoliano, Gloria Foster & Hugo Weaving. USA 1999. The Wachowski's second film, always the hardest, owes more to their heritage in comic books, than to their previous lesbian neo-noir thriller "Bound". Neo (Reeves) is an anti-social computer hacker who funds his hardware addiction by dealing in illegal software. He spends his spare time trying to find the answer to the films tag line, what is the matrix. The sage-like Morpheus (Fishburne) aids him on his quest and completing this holy trinity of father, son and holy-ghost is, well, Trinity (Moss). In the course of their quest they are aided to varying degrees by the all knowing, but not necessarily telling, Oracle (Foster) and the uncertain Cypher (Pantoliano). While trying to keep the truth hidden is the mysterious Agent Smith (Weaving) and his gang of FBI cohorts. Any further explanation of the plot would render the films expensive advertising campaign obsolete but the fact that I'm comparing it to the VR themed "eXistenZ" should give all but the most idiotic of you some clue as to the fact that all is not what it seems. The normally wooden Reeves excels in a two dimensional role that was seemingly written for him. Acting, if you can call it that, as a perfect backdrop for the actions of the rest of the cast. Moss makes a brilliant debut as the tough talking and even tougher kicking Trinity. While Fishburne pre-empts SLJ's episode one turn, with some serious Obi-One style mentoring. Weaving puts behind his cross-dressing "Pricilla: Queen of the Dessert" days, and indeed his Australian accent, behind him as the monotonously evil Agent Smith. While Foster puts in an amusing cameo as the homespun philosophy-spinning Oracle. Less satisfying is Pantoliano's turn as the poorly defined Cypher, but as the name indicates this may have more to do with the writing than any inadequacies with the thesping abilities of the actor himself. A surprisingly long and talky first half soon gives way to some excellent butt-kicking pillar shooting action, before finally giving way to some mystical revelation. This is the stuff of pure myth, which somehow seems apt when one considers it's thematic attack on the dangers of living in a fantasy world. Vastly superior to "eXistenZ" this modern myth is guaranteed to become the biggest hit of the summer unless Lucas suddenly decides to return to directing after 22 years and releases another "Star Wars" movie. Watch it before they make the sequel. |