If you've ever had one of those vividly realistic dreams -- the kind that occasionally feels muddled and confusing but contains some moments that are truly exhilarating -- and where upon awakening you aren't sure if what you dreamt really occurred, then you'll begin to understand how you'll feel after seeing "The Matrix."
Influenced by -- or more accurately, borrowing -- elements from other sci-fi movies such as "Total Recall," "Dreamscape" and the "Terminator" films, this picture may occasionally flounder and certainly won't appeal to all audiences, but it's certainly nothing short of a wild time at the movies.
Simultaneously managing to be both high and low brow (the sci-fi concepts mixed with the thrilling action sequences), the picture is intriguing due to the former and enthralling due to the latter. Despite occasionally being laborious at times -- particularly once the "secret" of the Matrix is revealed -- and extremely campy at others, the film features some spectacular visuals and elaborate action sequences that easily make up for its more lackluster moments.
While women have their "chick flicks" (weepy romantic comedies or dramas), the typical guy loves action-laced films, especially the ones that, upon their conclusion, make you walk with a confident bravado and drive home and act like you're the movie's hero. This is clearly one of those adrenaline pumping films.
All of which is somewhat surprising considering that the previous film from co-writers/directors and real-life brothers Andy and Larry Wachowski was 1996's cult hit, "Bound." A steamy and violent, but contemporary throwback to the kind of suspense films that Alfred Hitchcock used to make, the film was an imaginative piece of work with topnotch writing, directing and a unique visual style courtesy of cinematographer Bill Pope who also shot this picture (as well as "Darkman").
If Hitchcock was the inspiration for "Bound," then a mixture of sci-fi novelist Philip Dick (who wrote the stories that later became "Total Recall" and "Blade Runner") and bullet happy action gurus Sam Peckinpah ("The Wild Bunch") and John Woo ("The Killer") clearly influenced this one. For all of the thinking man's material that's present, there's twice as much spectacularly filmed mayhem.
From the supercharged balletic fight scenes -- courtesy of legendary Hong Kong, kung fu specialist Yuen Wo Ping -- to the highly choreographed gun battles (that often occur, of course, in slow motion to better enhance the effect) the film has some incredible visual moments that stand up against the best in the history of film.
Although what's become known as the "Gap effect" (for the Gap khakis commercial where the swing dancers freeze in midair as the camera pans around them) is still somewhat fun to watch -- and is used here during many fight sequences, all of which seems somewhat appropriate since we're dealing with an illusion-based world -- it's quickly becoming overused in movies and is a prime example of clever special effects used for nothing more than being cool.
Likewise, while moments where the characters occasionally race horizontally along the walls to elude their enemies are actually quite impressive to watch, those where the characters literally fly or flip through the air as they fight one another come across quite poorly. No matter the latest technical innovations used to achieve that effect, it still looks fake. As such, it and some of the campier martial arts gestures and movements employed by the fighting parties constantly reminded me of the funny sequence in "Wayne's World II" where Mike Myers did a hilarious send-up of such action.
Nonetheless, the audience didn't seem to mind such campy moments that actually seemed to enhance what were otherwise some incredibly intense and realistic hand-to-hand combat sequences that would make the likes of Bruce Lee and Jackie Chan proud. Sure, most of the fairer gender will think it's all pretty stupid, but if you're a guy, you'll probably enjoy the heck out of such scenes.
Of course, while I'll admit to getting a kick out of such material, I'm really a sucker for any sort of sci-fi based, alternate reality plots (such as the tremendous first half of "Total Recall"). While this film has that, some may complain that it has simply lifted material from other notable sci-fi films.
For example, there are similarities to "Dreamscape" (where an alternative, subconscious reality exists and if you die there, you die in reality) and the "Terminator" films (with the similar back story of a war raged between man and what had become self-sustaining, artificially intelligent computers).
Then there are the elements similar to "Total Recall" (where memories or in this case, "book smarts" are planted directly into one's brain), and even the "Star Trek: Next Generation" series and films (with its illusion-based holodeck sequences). Even so, the film still manages to give most of that a fresh spin -- including fun reasoning regarding deja vu experiences and why exotic foods always taste like chicken -- and thus keep things interesting.
Now, that doesn't mean it always makes sense, however. As such, some logic problems exist, particularly concerning what one can and can't do in this artificial world. Although Neo learns how to bend a spoon with his mind (since the spoon's not really there) and some characters can jump incredibly long distances (and thus partially defy gravity), it's never really explained why they can't bend the barrels of the guns used by those trying to kill them and/or simply defy gravity altogether and float to the top of building instead of taking the elevator.
While I understand that there needs to be a gradual acquisition of such skills for the protagonist, and the lack of most of them until late in the film creates necessary conflict and drama, a better sense of rules regarding all of that -- as well as the way for the team members to exit the Matrix -- needs to be present.
As it stands, the audience will probably get confused and perhaps even frustrated by the lack of understanding of what's possible, what's not, and why. The film also misses the golden opportunity to really let loose with the team's firepower in the concluding scenes. After all, if they can be equipped with their choice of "imaginary" weapons, why not really let things rip in what would have been an even greater audience pleasing moment?
In addition, the film could have used villains with a bit more depth. While it's logical that Agent Smith and his cohorts would be menacing in a two-dimensional way since they're computer-based entities -- much like Schwarzenegger's portrayal in the first "Terminator" film -- it would have behooved the film had those characters been a bit more "personable" and thus that much more fun to root against. Although strains of this do occur late in the film, more of that definitely would have been better.
Of course a film like this isn't particularly interested in award-winning performances, although those that are delivered are more than adequate for the job. While some have questioned Keanu Reeves' acting ability in the more "serious" films in which he's appeared, his handsome good looks, streamline physique and tough guy persona work well in action films such as "Speed," "Point Break" and most certainly here. Whoever would have thought that the guy who once played Ted (of "Bill & Ted's Excellent Adventure") would one day be one of the more impressive action heroes?
Supporting performances are adequate, but the characters from which they are based are considerably less developed than Reeve's. Laurence Fishburne ("Event Horizon," "What's Love Got To Do With It?"), while similarly impressive in the film's physical work, could have used a bit more levity in his completely solemn character to make him both more accessible and likeable to the audience.
Unfortunately, Carrie-Anne Moss ("Sabotage," the TV series "Dark Justice") and the always competent Joe Pantoliano ("The Fugitive," "Bound") are even less developed than their co-stars and don't do much more than take up space (although Moss does have a fun opening action sequence). Likewise, as mentioned before, Hugo Weaving ("The Adventures of Priscilla, Queen of The Desert") is appropriately menacing, but unfortunately a bit too two-dimensional as the villain.
Nonetheless and despite those and other objections, the film is a fun combination of cerebral sci-fi elements and stunningly impressive action sequences. While some might not think much of the slow motion gun battles (having seen them in many other films), it's doubtful few will find a thrilling helicopter sequence and other similar moments as anything less than exhilarating. Not a perfect sci-fi action film, it's still a blast to watch and for that, we give "The Matrix" a 6.5 out of 10.
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