JS22
Say Vandelay!
- Joined
- Oct 21, 2002
- Posts
- 5,791
- Reaction score
- 211
I have a close friend who is a semi-major film reviewer, and he was given the very selective opportunity to view a pre-release version of "The Matrix Reloaded." I obviously will not tell you who he is but he allowed me to watch it with him.
You could tell it was an early workprint, some of the sequences had no music, and there were quite a few effects shots that were matted strangely (and poorly), but the story was there and most of the what will be shown was intact. The problem...and I've done my best to temper all expectations given that The Matrix was such an intriguing, unexpected success on all levels...is that style clearly came before substance this time, and what was once an interesting concept has devolved into an excuse to show flashy effects and six million dollar man-style action sequences. And also singing. I wish I was kidding.
Keanu does a decent job reprising his role as Neo, but the story never takes time to explain why his hair is now ghost white. Similarly, Morpheus's return is marked by a strong shift in character; his frequent high fives and use of slang are confusing to say the least, and again, there is no explanation why he is behaving this way.
Bellucci, though delectable as Persephone, plays something of a Shemp sort of character with Trinity, and with the intense storyline going on around them, the slapstick element just feels out of place.
There are also moments when the Wachowski brothers seem to be channelling other more accomplished filmmakers. The dance sequence with the woman in red for instance is ridiculous and unnecessary, and when Agent Smith wanders down the subway tunnel, tommy guns blaring and explosions over his shoulder, it's as if Andy and Larry had seen Miller's Crossing one too many times.
Everything else is dwarfed however by the last ten minutes of the film in which...and I'm not making this up...a MUSICAL NUMBER closes out the film. "Back to Zion" would make sense in just about any other context (Chicago, anyone?), but this is the MATRIX, gentlemen...there can be no singing. Keanu is clearly lipsynching (he's obviously better suited to play bass) and it makes sense now why Aaliyah was originally cast, as there is a solo that would have perfectly suited her...but again, THIS IS THE MATRIX. This will not sit well with the scifi nerds salivating in expectation of this film.
The Matrix sequel is pleasant as eye candy, but be prepared to scratch your head and wonder what they were thinking. Here's hoping it all makes sense in the third act.
You could tell it was an early workprint, some of the sequences had no music, and there were quite a few effects shots that were matted strangely (and poorly), but the story was there and most of the what will be shown was intact. The problem...and I've done my best to temper all expectations given that The Matrix was such an intriguing, unexpected success on all levels...is that style clearly came before substance this time, and what was once an interesting concept has devolved into an excuse to show flashy effects and six million dollar man-style action sequences. And also singing. I wish I was kidding.
Keanu does a decent job reprising his role as Neo, but the story never takes time to explain why his hair is now ghost white. Similarly, Morpheus's return is marked by a strong shift in character; his frequent high fives and use of slang are confusing to say the least, and again, there is no explanation why he is behaving this way.
Bellucci, though delectable as Persephone, plays something of a Shemp sort of character with Trinity, and with the intense storyline going on around them, the slapstick element just feels out of place.
There are also moments when the Wachowski brothers seem to be channelling other more accomplished filmmakers. The dance sequence with the woman in red for instance is ridiculous and unnecessary, and when Agent Smith wanders down the subway tunnel, tommy guns blaring and explosions over his shoulder, it's as if Andy and Larry had seen Miller's Crossing one too many times.
Everything else is dwarfed however by the last ten minutes of the film in which...and I'm not making this up...a MUSICAL NUMBER closes out the film. "Back to Zion" would make sense in just about any other context (Chicago, anyone?), but this is the MATRIX, gentlemen...there can be no singing. Keanu is clearly lipsynching (he's obviously better suited to play bass) and it makes sense now why Aaliyah was originally cast, as there is a solo that would have perfectly suited her...but again, THIS IS THE MATRIX. This will not sit well with the scifi nerds salivating in expectation of this film.
The Matrix sequel is pleasant as eye candy, but be prepared to scratch your head and wonder what they were thinking. Here's hoping it all makes sense in the third act.
