• NOW LIVE! Into the Woods--new character species, eerie monsters, and haunting villains to populate the woodlands of your D&D games.

Matrix Revolutions - just watched it again

Count me firmly in the "eh" camp when it comes to the two Matrix sequels.

I enjoyed Revolutions much more than Reloaded, but now after watching it on DVD a couple of times I can't help but feel that the story is just so mediocre. The action is great but the drama just isn't there.

Its true that all of the story developments in Reloaded could have fit into a 20-30 minute prologue to Revolutions, replacing the ridiculous "train station" and fetish club sequences. "Love isn't an emotion, its a word." "Karma's a word." Give me a break. That dialogue is also a word, and that word is "stupid."

The subplot with the little girl was just lame, and the epilogue with the sunset was equally lame. Trinity's 40 minute death speech as the fate of the world hung in the balance was even worse. You just can't have nifty action bookended by such dramatic ineptness and have the overall story amount to much.

And I can't help but laugh at the sheer absurdity of how much effort the heroes spend trying to look cool while saving the world. The sunglasses in dimly lit rooms and the poses when nobody's looking, all from actors pushing 40 and older. Its just so serious and pretentious that I don't know whether to laugh or take pity.

But Revolutions is cool to have on DVD just for the times I'm in the mood for some sweet live action mecha combat and I find the kung fu at the end entertaining as well, even if it has almost none of the dramatic tension of the first movie.
 
Last edited:

log in or register to remove this ad

The Matrix Revolutions
Quick revision to the end of Reloaded. The sentinels still attacked, and were still stopped, but we play it up so it looks like Trinity is responsible for saving them.

We begin Revolutions with a very anxious and nervous Neo, on board the Hammer, hoping they can somehow find Trinity in the Matrix. They get a call from Seraph, and head in. They learn the Oracle has been kidnapped by the Merovingian, so they chase after him, and follow him to the train station. Just as the fight is starting and we start to see what kind of cool stuff the villains can do, Smiths show up, and manage to absorb Seraph. In the fight, Morpheus manages to kill Monica Belucci, which somehow transfers to him all the bits of power she had stolen from previous 'The One's. Now we have three heroes with strange powers. I think we'll give Morpheus a power to have Matrix powers in the real world. Just something to shake things up.

Anyway, things are looking bad in this fight, until, for just a moment, Seraph's personality emerges from Smith, long enough to give Neo and Morpheus time to escape, but capture Trainman (who needs a better name) and are able to rescue Trinity. This scene is necessary to show that sometimes, a strong personality can still persist briefly even after Smithifying.

Trinity stands in for Neo in the earlier train station scenes. She has to learn how things work here, because she will later have to use this wisdom when they go the Machine World. See, we have the real world, and two Matrixes. One Matrix is the one where human minds live, kept placid. The other Matrix is where the machine minds live. The truth is, the Machines do not know how to heal the world, and even they cannot stand to live there normally, so they created a Matrix of their own. Human minds, batteries of creativity, provide the processing power to make the Machine Matrix possible, and, when we finally see what it looks like inside, its like nothing machines could imagine or we could experience. The Machines could not live in a Matrix of their own design, because existence would lose all randomness, and there would be no growth. The truth is, androids do not dream of electric sheep; humans do.

In this version, the Oracle is missing, kidnapped by the Merovingian, who intends to take her and consolidate his power in the Machine World. The Oracle is able to understand human dreams, and so left the Machine World because she could control things there, undoing the necessary improbabilities. The Merovingian, with her in his clutches, will be able to change the world as he desires.

In the Machine World, they still have human bodies, because they were designed to exist in the Matrix, unlike certain special programs, like Agents.

Smith has taken over the entirety of the plugged-in humans, and all the programs that could have fled to the Machine Matrix and severed ties between the two virtual worlds. But Bane, existing in the human world, can bridge the gap, and when Neo and Trinity realize they might be able to stop the machine army by destroying them from within their own Matrix, Bane stows away with them. When they get to the machine city, he waits for them to log in, and then he logs himself in. As Neo and Trinity try to understand this strange, lush world (which we might tint slightly gold), Bane/Smith reopens a passage between the two Matrixes, and his other selfs swarm into this world.

The Machine World falls to Smith too, and the two worlds begin to merge into one. Neo and Trin try to get the remaining machine upper-ups (like the Architect) to call off hostilities with the humans, but they refuse human help.

Now, we get to have cool stuff with Morpheus. He went with Niobe and folks to save the day at Zion. After absorbing some One power from the vampire, guess what he gets to do? Have you seen that ridiculous Star Wars: Clone Wars cartoon episode where Mace Windu sprints around punching robots? Well, Morpheus is cooler, because he'll be punching sentinels off the hovership as he clings to the outside of its hull, while Niobe pilots it toward Zion. I dunno, maybe this is cheesy, but Morpheus deserves something cool.



Our grand climax goes down at a strange hellish/goldish/greenish dual-Matrix realm where the Merovingian is trying to extract power from the Oracle. We have a first fight where Neo and Trinity (and what the heck, Seraph too) try to rescue the Oracle, fighting Merv and Monica. But as we finish that cool fight, an army of Smiths swarm in, each of them trying to just reach the Oracle. They surge past Neo, who's doing crazy stuff to keep them away, and one manages to reach the Oracle and absorb her power.

Then we get a big flying fight like at the end of the current draft of Reloaded. Except in this version, we play with reality. After some initial kung fu, Smith beats Neo up into the sky, and then he starts pulling lightning bolts from the storm, striking at Neo with those. There is some sort of huge explosion that obliterates blocks of buildings, destroying the Smiths in those buildings as well. During this fight, Trinity watches from a rooftop, powerless to help, and as things are looking bad, they get worse, with a few normal Smiths coming at Trinity, surrounding her in a sick reenactment of the opening scene from the first movie. Neo has to save her.

See, this is why the fight at the end of Revolutions stunk. They killed off Trin so Neo'd have nothing worth living for. But he needed something worth fighting for, and he didn't have it. Here, he will.

Something special and nifty happens here. I'm not sure exactly what, but somehow Trinity's state as a higher being comes into play, either as she donates power to Neo, or Neo pulls her away and lets himself get absorbed in her place, or something. But just as Smith is spouting off doomsday proclamations, something cool and unexpected happens. We don't draw out the punching too long, and there are certainly no CG people fighting. When Smith is finally destroyed, billions of Smiths shatter across the world, revealing the humans beneath, or completely obliterating those programs Smith absorbed.

People occasionally ask why God lets the Devil exist. It's the same reason Neo made Smith a virus. So that, ultimately, evil can be defeated. With Smith's destruction, the world is free from the machines, and though the people who survive will have a hard time enduring in the world, they'll manage. We can even still end on a sunrise, but it'll be a real sunrise.

So yes, that was rather eclectic, but hopefully there were some useful ideas.
 

takyris said:
Actually, the Oracle worked fine for me in the first movie all by herself. I mean, she wasn't particularly plausible without additional information, but when you strip away the sci-fi gloss of virtual reality and actually look at the nature of the plot, it's a traditional fantasy story. And traditional fantasy stories always have mysterious old soothsayers who elliptically tell Prophecy Lad that he's destined to save the kingdom -- or, in this case, tell him that he's not destined to save the kingdom, specifically in order to psych him out so that he later feels compelled to go save the kingdom anyway.

But she's a program. She already was a program in the first movie, not some mysterious soothsayer. Why does she help the humans? Programs are pragmatic, they don't have a conscience or something. It makes no sense.

I actually first assumed, she was someone logging in from Zion somehow, but that doesn't make a whole lot of sense either. ;)

Bye
Thanee
 

Thanee said:
But she's a program. She already was a program in the first movie, not some mysterious soothsayer. Why does she help the humans? Programs are pragmatic, they don't have a conscience or something. It makes no sense.

I actually first assumed, she was someone logging in from Zion somehow, but that doesn't make a whole lot of sense either. ;)

Bye
Thanee


Truthfully, I don't think the Brothers really thought out what she was supposed to be in the first film. When you think about it, Morpheus was trying to free people from the evil of the Matrix. The whole point of that film was that you couldn't trust anyone except those that were free from it. Why would he then put his life in the hands of a program?
 

Villano said:
Truthfully, I don't think the Brothers really thought out what she was supposed to be in the first film. When you think about it, Morpheus was trying to free people from the evil of the Matrix. The whole point of that film was that you couldn't trust anyone except those that were free from it. Why would he then put his life in the hands of a program?

Exactly. Many people seem to forget that just because it's possible to rationalize something if you try hard enough, it doesn't mean it actually makes sense as written, or that the rationalization is one the author intended.

It's always the same thing, whether you're trying to make the latest horrible Star Trek movie make sense within the "canon", convincing yourself the SW prequels make sense in the context of a nine-movie epic story Lucas claimed to have, or trying to wish away the plot holes in the Dungeons and Dragons movie...
 

mmu1 said:
trying to wish away the plot holes in the Dungeons and Dragons movie...

What D&D movie? What are you talk- . . . *clutches head* Agh, the pain . . . oh, no! Memories . . . coming back. . . . Agony . . . too intense. Can't . . . think, must forget . . . movie. Argh!

*collapse*

*stands back up, shaking head for a moment*

What? What were we talking about? Oh, yes, the Matrix. Fun movie that. I hear they're making a sequel.
 

Kai Lord said:
Its true that all of the story developments in Reloaded could have fit into a 20-30 minute prologue to Revolutions, replacing the ridiculous "train station" and fetish club sequences. "Love isn't an emotion, its a word." "Karma's a word." Give me a break. That dialogue is also a word, and that word is "stupid."
Actually, that discussion in the train station was the most profound philosophy in any of the three movies. And it wasn't karma, either.
 


Wrath of the Swarm said:
Actually, that discussion in the train station was the most profound philosophy in any of the three movies.
Ok I admit it. That dialogue was indeed the most profoundly crappy philosophy of all three movies.
 


Into the Woods

Remove ads

Top