Monday, 19 January 2015

The Matrix: Reloaded (2003)


So where are we now? Neo is Superman in the Matrix. He can see the Matrix as a cluster of codes rather than as the reality to an enslaved human. He is above the laws of a computer program and is above any agent in the system.


The Wachowski brothers continue the story of the fight for the human race against a horde of machines. This time instead of a few sentinels, we see a warring horde of them as they have progressively tunneled their way to Zion, the last human race to take shelter from these monsters.
In this flick, there are new supporting  characters, a majority of them in the defense council. There is Commander Lock, Captain Niobe and several elders. They are determined to see this through to the end even if their approaches conflict with one another.


 The thing that would normally bore an audience is exposition. There is plenty of that going on in this movie, some being duller and more long-winded than others. In fact, the most tedious expositions come from the Merovingian and the Architect. These two drill the fun out of this movie with their convoluted and verbose dialogue, most of which makes no sense and is superfluous. Even a university professor would ask what the hell they are harping on about.


The plot seems hard to follow: as I have mentioned, the machines are drilling deeper into the earth. The fighting faction have to take them out in the Matrix itself since machines run on programs, but would need to enlist an exiled program called the Key Maker. It is he who gives them instructions that they must follow to succeed, all within a time window. Well, the plot is only hard to follow with sequence of events cutting in and taking time to sum up.

 

So this movie is more expensive than its predecessor, notably for the highway pursuit. This is where scores of vehicles--cars and lorries--are involved in real crashes and collisions of incredible magnitudes. Only one sub-scene remains digitally enhanced: the fight between Morpheus and an agent sent to 'delete' the Key Maker. This entire chapter was made to captivate viewers, accompanied by Trinity's motorcycle maneuvers and real evasions from the ghostly twins and agents alike.


Undoubtedly the most triumphant ending to this chapter is where Neo flies in and rescues Morpheus and the Key Maker in split seconds while two lorries collide and explode in comparably 'slow' motion.

Another scene that contributed to a large budget is the fight between Neo and the Smith clones. Before discussing the fight itself, I will recall that Smith has been reborn as a virus rather than an agent, so that he can copy himself onto other subjects. So this means that he can spread like a wildfire and raise the odds of overwhelming Neo. Now to accomplish this scene must have taken a great deal of computer programming and digital alterations; so much that both Neo and his adversaries all resemble video game avatars. To make this fight more interesting and engaging, a special camera was designed to make this scene look as though it was done with one take. Undoubtedly it was capable of following every motion of Neo fighting, and a clone flying at any angle.


I should remark on the ability of Neo to fly faster than the speed of sound, and drag several objects behind him. It is as if the Wachowski brothers were so much hooked on Superman that they were to demonstrate his ability with advanced computer technology. The ripples created by his supersonic flight were something to gaze at in wonder! There is no better way of demonstrating this than with Neo in black.


The Wachowski brothers widen their story and invite more characters in a fight for survival. Morpheus latches on to a prophecy and wants to see it fulfilled. Some things in this movie would keep you from wallowing in boredom due to exposition. So if you like to watch a movie that delivers solid performance, cutting-edge C.G.I., highway chases and a seductive French woman, come and take a look at this.But do take note of several occurrences that are extremely impossible but unexplained for the audience.





























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