Cinematography:
Bill PopeComposer:
Don DavisCast:
Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, Gloria Foster, Joe Pantoliano, Belinda McClory, Robert Taylor, Anthony Ray Parker (more)VOD (3)
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In the near future, a computer hacker named Neo discovers that all life on Earth may be nothing more than an elaborate facade created by a malevolent cyber-intelligence, for the purpose of placating us while our life essence is "farmed" to fuel the Matrix's campaign of domination in the "real" world. He joins like-minded Rebel warriors Morpheus and Trinity in their struggle to overthrow the Matrix. (Warner Bros. US)
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Reviews (12)
I kept The Matrix in the cool of my closet for a really long time (a decade, actually) and on the one hand it's good that I waited, because I might not have even understood it at the time, but on the other hand I was depriving myself of a perfect piece of filmmaking in terms of script and execution that is undoubtedly worth watching. I enjoyed all the visual and sound effects immensely, as well as the Matrix problem itself, which definitely had something going for it. Of the cast, I liked the badass Carrie-Anne Moss and the extra sleazy Hugo Weaving the most. In short, a film that didn't knock me off my feet like other films, but as far as quality goes, it has it in every way.
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I’m finally done with the entire trilogy. The first part is the most straightforward and intimate and the one works as a standalone film, but also as the beginning of a saga. A great idea, brilliantly executed and deeply philosophical (I would love to read the philosophy behind the Matrix universe, it could be very interesting. It addresses almost everything, from noetic questions about the possibilities and ways of human cognition, through the creation of one's own ontological system, to the problems of causality and the question of choice). In any case, the first Matrix is a groundbreaking and hugely important film and I could even be more in love with it if I had a fetish for the nice clothes the characters wear.
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I remember that during the premiere of The Matrix, a friend came with his eyes wide open and declared that he had seen the best film of his life. In the late 90s, The Matrix brought about a revival of the dying sci-fi genre, not so much in terms of content, but rather visually, in editing, and overall style that appealed to the young generation influenced by the phenomenon of computers and video games. It brought dynamism, action, and cyberpunk elements to the genre, which had long dominated the literary field of sci-fi. I would not classify The Matrix as a cyberpunk film, as it lacks the sophistication and depth of thought, which it replaces with flashy shootouts and martial arts fights, as well as bombastic special effects. However, I agree with the idea that it is a groundbreaking and style-defining film that has greatly influenced the genre, brought in many new fans, and led to many imitators. Unfortunately, the next two sequels did not confirm the creative ambitions, as they had a lazy script and terrible dialogues, and damaged the promisingly constructed alternative world. For me, The Matrix is a film that visually impressed me at first glance, but even then, I disliked the shallow elements of cheap action movies, and its image has faded over the years. Nevertheless, I will still give it a weak four-star rating. However, I must say that I would prefer if the Wachowskis took a less easy path and made a film based on a purely cyberpunk and biotechnological style, combining the views of H. R. Giger and William Gibson. There are a few scenes like that in the film, such as Neo's awakening in the power plant cell, but unfortunately, there are too few of them compared to the video game shootouts. Overall impression: 70%.
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In my opinion, this film has started something... Its impressive visual rendering and stylistic polishing are still copied by many action films today, and (unfortunately) few take the time to invent an elaborate plot that would have a fairly solid philosophical footing (I don't mean the spawn that the flock of furious interpreters of every little thing have created around the film). The Matrix worked as an action film (the fights are simply a treat!), as science fiction and as a film with a deeper idea. It's certainly not cyberpunk, as many unlearned people claim, and it's certainly nothing original – most of The Matrix's "source" files are not commonly known to our culture, although all you have to do is go through the relevant sections of Japanese cinema. The Matrix is one of the first messengers of the "new hi-tech" film with everything that it encompasses, the messenger of a new futuristic conception of the action element in the story. At the same time, I won't be far from the truth when I say that it will always be a cult film – just as it's hard to take it out of the family of classic sci-fi films.
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In my amateur research into late American film history, I've come to believe that since the 1960s, film themes and approaches have more or less changed by the decade, reflecting the current state of overseas society and pop culture. Each such renewal can be traced in a contextual set of films, whether we look at films from the New Hollywood era influenced by the awakening of society after the Vietnam War, the period of 1980s hedonism overshadowed by the Reagan economic boom, or conversely, the exhaustion and increasing paranoia of the ‘end of history’ of the 1990s. But then, in the late 90s, there wasn't another multitude of films, there was one film – The Matrix. And it set the themes and form of the audiovisual for the next twenty years thus far. All those contemporary films with underground resistance movements, multicultural teams fighting against oppression, the allegories to breaking free from slavery (I've only now run out of all the scenes with Morpheus, culminating in him breaking the chains he's chained with while in the real world machines pick human fruit like cotton fields) and queer manifestos within genre films – it all started here. Most importantly, though, The Matrix activated a hitherto completely uncool subculture of nerds right away by allowing it to be virtually the only group in '99 that could appreciate The Matrix beyond a collection of badass scenes. It wasn't until after The Matrix that it became generally 'in' to watch anime, read manga, play video games, or even just dress up in leather trench coats and roam the streets that way. So it's not true that The Matrix started a new subculture, as is often mistakenly said; The Matrix simply elevated some subcultures. And with that it didn't just stay in a cinematic framework. Since the first Matrix, one can also note as rise in the popularity of gothic and industrial metal, or established rock bands have often begun incorporating electronic influences into their music. Then my other favorite consequence of the success of the first Matrix is the mark it left on the fashion world (and by that I don't mean that anything has changed on the catwalks, but on the streets). While Rob Halford of Judas Priest ensured that hitherto metalheads dressed like a Laakson picture, the Wachowskis ensured that hitherto fetishistic queer fashion was universally accepted as eveningwear. However, the implications of their influence were of course beyond the comprehension of The Matrix, and the film's message, where those who don't fit into the system become a natural part of the struggle against the establishment, where the fight is fought with gloves off because anyone connected to the system is the enemy, became the first stone in the inclusivity of subcultures under the mainstream, a trend that continues unhappily to this day.
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