Review: ‘The Matrix Resurrections’ shows us reality is still a matter of question

More than 20 years ago, the Wachowskis’ cyberpunk odyssey caused film audiences to question everything, including their existence. The Matrix took the world by storm, conveying philosophical theories in a manner suited for mass consumption. Recalling fairy tales that took its protagonists to new worlds, viewers explored this blurred vision of fact and fiction with intense curiosity. Its two sequels went deeper into the narrative, presenting more complex ideas of fate and faith. The third film alienated a lot of filmgoers, but nonetheless it appeared to deliver a pretty definitive ending. That said, there’s a reason this latest picture is titled, The Matrix Resurrections.

It’s been several years since Thomas Anderson (Keanu Reeves) became an award-winning game designer for his reality-bending epic, “The Matrix.” Everything everyone knows about the story is just a video game narrative played by millions around the world. Mr. Anderson struggles with how much of himself he incorporated into the game, warding off another mental breakdown with medication and regular visits to a psychiatrist (Neil Patrick Harris). Most difficult is the inspiration for Trinity (Carrie-Anne Moss) — a woman that frequents his coffee shop (Simulatte) with whom he can’t gather the courage to strike up a conversation. In a sudden moment of déjà vu, Mr. Anderson receives a message instructing him to find an exit where he’ll be met with someone who will show him — Neo — the truth… again.

When learning about a fourth Matrix movie, most people likely had the same reaction Reeves had when called by Lana Wachowski:  But they’re dead! Of course, in this world that defies our understanding of what is and isn’t, anything is possible. The approach to reviving these beloved characters is interesting as Neo and Trinity’s love affair is revealed to be at the film’s core, which is fitting since it played such a significant role in the previous pictures. It also produces the most rewarding moment in the movie as Trinity is finally given her due after years of being confined to just being the woman behind “The Chosen One.”

The film finds appealing ways to incorporate and acknowledge its past, creating a meta-narrative that becomes increasingly self-aware as the story unfolds. The ideas of the architect and sentient beings are altered, as is everything else audiences thought they knew about this science fiction universe. Even the new Zion is like nothing anyone could’ve imagined all those years ago — though the legends have persisted, regardless of efforts to bury them.

In spite of being a little older this time around, Reeves can still be seen doing many of his fight scenes and stunts. The action isn’t as riveting as cinema has seen so many impressive displays of agility and choreography since the franchise’s start, but it still plays an important part in the movie — particularly as a means of demonstrating if a free person has truly accepted that the digital world is not “real.” The movie also reimagines the technique it made famous: bullet time. The slow-motion visual effect has a new application in this picture and Neo’s monopoly on its use no longer exists.

Prior to the last act, the film follows in its predecessors’ footsteps by becoming too preoccupied with the nitty gritty of the story and potentially losing audiences in the details. Outside of the audience’s enduring adoration for Neo and Trinity, who are seamlessly reprised by Reeves and Moss, some may find at times the only other element keeping them anchored in the movie is Harris. His standout performance serves to reconnect viewers to the picture when it’s stumbled too far into the rabbit hole. By the time the climax arrives, everyone is ready — whether it’s a result of anticipation or fatigue.

We never thought we’d go back to The Matrix and some may wish they hadn’t… but it’s not all bad and the good is delightful.

Director: Lana Wachowski
Starring: Keanu Reeves, Carrie-Anne Moss and Neil Patrick Harris