MOVIE REVIEW

Matrix Revolutions, The  (2003)

Starring: Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, Jada Pinkett-Smith
Directors: The Wachowski Bros.

Rating: R

Studio: Warner Bros.

Release Date: 11.05.03

Review Posted: 11.05.03

Spoilers: Minor

By Sara M. Fetters

Revolting Against "The Matrix"

Logic dictates that the third and final chapter in almost any film series will undoubtedly pale in comparison to those that preceded it. There are rare exceptions, of course. There is the classic case of the original “Star Trek” films (and I’m not talking about the four, derivative “Next Generation” adventures), where parts two, four and six were light years ahead of their odd numbered counterparts. But, for every “The Bride of Frankenstein,” there are seven or eight “Godfather Part III’s,” sequels so misguided only an Ewok could find something to love about them.

This year sees the concluding chapters of two of the most anticipated fantasy/science fiction trilogies of our time, The Wachowski Brothers “Matrix” films and Peter Jackson’s culmination of J. R. R. Tolkien’s “Lord of the Rings” saga. For those looking for that slam bang final that gets the blood racing and sends spirits soaring, keep those fingers crossed for “Return of the King.” For with “The Matrix Revolutions,” those wunderkind Wachowski's drop the ball – big time.

It should be noted upfront I was partial to the duo’s second chapter of their series more on a purely visceral level than on anything else. I was impressed with their cinematic joi de vive, their kinetic sense of style and visual marvel. Part two of “The Matrix” films delivered that in spades, and even if it was wrapped in a slab of metaphysical mumbo jumbo and ham-handed melodramatic existential emotionalism, on a pure ocular level the movie was a kick, featuring a middle chase sequence that ranks up there with some of the best ever to be put to film.

Too be fair, the same could be said for “Revolutions.” Picking up exactly where the second left off, the Wachowski’s sweep things right up in their now signature cyberpunk stylings, unabashedly filling the screen with equal parts retro cool and industrial New Age sleaze. Neo (Keanu Reeves), in an apparent coma to those around him, has found himself stuck in a nether world train station between the matrix and the real world, a way station for programs traveling from one end of the spectrum to the other.

It is there that Morpheus (Laurence Fishburne) and Trinity (Carrie-Anne Moss) are sent by the Oracle (now played Mary Alice) to rescue him. But to get there, they must first gain permission from “Reloaded” villain Merovingian (Lambert Wilson) and his succubus wife Persephone (Monica Belluci). Mayhem, of course, ensues (particularly a rather lame shoot out that unfortunately echoes the climactic police station siege of the first film) but the duo more than get their point across, quickly securing the needed acquiescence of the French-accented restaurateur. After finding their friend, the three return back to the real world, but not before Neo visits the Oracle one last time. It is there that she reveals to him that the fate of both worlds - the real one of the humans and the computers, as well as the one inside the matrix itself – are in his hands against the anamorphous desires of the rogue program Smith (Hugo Weaving). Neo must make a choice, a choice that will only become clear to him in time, and with it the fate of all who now roam the Earth will be decided.

Back in Zion, the machines have almost burrowed their way through the planet’s rocky nougat into the city. With their armada of ships seemingly destroyed, the peoples of the last human city must band together and face the threat with bloody high-powered combat. Can they hold out until Morpheus and Niobe (Jada Pinkett Smith) return with their ship’s EMP device that might just turn the tide? And what of Neo and Trinity, now off to the computer city up on the surface, a vast mechanized waste land no human being has ever set foot in. Will this foray into the lion’s den lead to salvation for both human and machine, thus ending the war for all times?

Unlike “Reloaded,” the storytelling in “Revolutions” is far more streamlined and self-assured. It’s also a clunky, colossal bore. The Wachowski’s infuse their cyberpunk saga with the self-same pastiche of Biblical meanderings, Greek mythology, Arthurian grandeur, Philip K Dick technical foreboding and S&M animé majesty as they did in parts one and two. Only problem, this time around, the results aren’t very interesting. There is a huge sense of déja vu, and I’m not just saying that as a cute reference to 1999’s original chapter. Like Neo seeing a black cat cross his path twice, watching “Revolutions” is akin to being given the same bowl of porridge three mornings in a row, only with a different fruit topping each sunrise. The first time, it is rather nice; the second, you can sort of live with it. But by the third , the meal has lost its charm, and no amount of strawberry compote is going to change it.

This is a shame, because I really wanted to like this movie. The battle for Zion which takes up almost an hour of run time is visually dazzling. The human characters walk around in these mechanized battle warriors that seem lifted from the classic Japanese animated series “Robotech,” and they truly are a wonder to behold. The spit and fire round after round of heavy ammunition, robotic sentinel warriors swirling all around them like a swarm of angry bees. But while it is all so absurdly impressive on a technical scale, there isn’t a shred of emotional involvement to be had. No one lives during this battle that we don’t readily expect to die, and all left alive in the end are done so in the best tradition of a rather rote television soap opera.

It doesn’t help that the Wachowski’s leave much of their cast out to dry this time around. Fishburne and Pinkett Smith get to have a brief, Han Solo-like stint piloting a ship through an electrical conduit, but other than that they are relegated to being sideline characters. But that’s better than everyone else, the movie having little use for its actors other than canon fodder for all the CGI-generated shenanigans. The cacophony of violence and visual razzle dazzle reach such absurd heights, I almost started longing for the subtlety of George Lucas, far more fun to be found in a sword-swinging Yoda than in the dankness here.

That may be too harsh, “Revolutions” at times quite wonderful to behold. The movie’s rain-drenched finale inside the matrix may be absurd, but it’s still pugnaciously audacious. Echoing the rage fueled adrenalized finales of a Sergio Leone epic crossed with the Wagnerian swagger of Arthurian legend, this much anticipated dual between Smith and Neo almost saves the movie (and the series) from unfortunate ruination. But even then, amidst all the flying, kung fu and supersonic explosions, the directors manage to find a way to muck it all up. Instead of “whoa” all we’re left with is a giant “huh,” the movie coping out with pretentious apotheosizing instead going out with the bang I was dearly hoping for.

Rating: ê1/2  (out of 4)

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