The Matrix Resurrections (2021) is one of the most self-referential legacy sequels of 2021. This creative decision is undoubtedly a bold move on director Lana Wachowski's end to make a distinction between her film and the rest of the crowd-pleasing sequels out there like Ghostbusters: Afterlife (2021) and Spider-Man: No Way Home (2021). Does the effort pay off? Yes and no. To be clear, I don't hate this one but am rather intrigued by its creative choices. Before I proceed with the review (which will contain spoilers from the Matrix films), I will give my brief thoughts on the previous films in the franchise.
The Matrix (1999) is a modern classic with a truly revolutionary direction and premise with visuals that (for the most part) hold up remarkably well (a 9 out of 10 for me). The Matrix Reloaded (2003) is relatively overlooked, in my opinion, for its fascinating questions posed about the nuances of being in the Matrix outweigh the heavy-handed exposition (an 8 out of 10). The Matrix Revolutions (2003) is easily the weakest of the bunch because it, save for a few moments, is rather forgettable coupled with specific details contradicting critical dialogue from the original film (a 6 out of 10 for me). With all that said, here is my spoiler-filled review for the fourth installment in the Matrix movies.
The Matrix Resurrections follows Thomas Anderson, a.k.a. Neo (played by Keanu Reeves), sixty years after the events of Revolutions where, for some reason, he is alive and well after dying at the end of that movie. He has been seeking therapy and medication from the mysterious Analyst (played by Neil Patrick Harris) in the form of blue pills (an apt metaphor and foreshadowing for some of the plot twists that could be seen from a million miles away). It isn't long until familiar faces like Trinity (played by Carrie-Anne Moss) and Niobe (played by Jada Pinkett Smith), new characters like Bugs (played by Jessica Henwick), and recast ones like Morpheus (this time played by Yahya Abdul-Mateen II instead of Laurence Fishburne) and Smith (played by Jonathan Groff instead of Hugo Weaving) show up. From there, an interesting continuation of Neo and Trinity's stories plays out with good, bad, and sometimes strange results.
Reeves and Moss deliver strong performances as Neo and Trinity, respectively. It is delightful to see them reprise their iconic characters, even if their memories require some jogging for the most part. Pinkett Smith's return as Niobe is now considerably older to reflect the time since the last film's events. While some of her actions as a grizzled veteran of the human resistance against the machines are questionable, Pinkett Smith's performance remains a compelling one. Also, Priyanka Chopra Jonas as the grown-up Sati (last seen as a little girl in Revolutions) is an excellent addition to the team, despite not being utilized enough in the movie. Most of the new characters are adequate, even if they are relative copy-and-pastes of the supporting characters seen in the originals.
This entry is the best-looking Matrix movie in terms of practical stunts, visual effects, and physical settings on the technical side of things. Despite being shot digitally instead of analog for the original trilogy, the picture quality is crisp, and the colors are nice and vivid. I would not be entirely surprised if this film's directors of photography were inspired by and borrowed cues from the original trilogy's cinematographer Bill Pope and his choice of color palettes. Also, the action scenes, when present, are visceral, well-shot, and well-choreographed. Are they as groundbreaking and memorable as the originals? Not by a longshot. Still, they are consistently entertaining to watch.
Thematically, this installment in the franchise is the most ambitious—a self-aware and, to an extent, self-parodying look at society's evident obsession with nostalgia for iconic properties like The Matrix. The concept of subverting fan expectations, while a controversial one as was negatively exemplified by the Star Wars Sequel Trilogy (2015-2019), can theoretically work for a property like this one. For instance, providing commentary on how mega-corporations like Warner Bros. can exploit nostalgia to make new installments based on focus groups and shareholders' wants is a fascinating take on a film series known for its cerebral and transcendent atmosphere and messages. However, this self-parodying approach to a franchise does, at times, feel more hamfisted than those seen in a Mel Brooks comedy. Also, it relies on the often-used trope of certain characters not fully utilizing their powers until the third act, making the rest of the film a bit of a waiting game. On that note, this leads me to Resurrections' negatives.
While this movie takes many bold risks, not all work; for instance, Groff is acceptable for playing a jerk type of character but not for stepping into the shoes of a villain as memorably formidable as Agent Smith. If anything, I found Harris' character of the Analyst to be infinitely more menacing and better-acted than the main antagonist himself. While I understand Wachowski's thematic commentary on Hollywood's recasting of iconic characters for a new generation of consumers, there isn't anything new or exciting brought to the table with Groff's inclusion. Abdul-Mateen II fares slightly better as the re-energized Morpheus but still lacks the commanding presence of his predecessor and comes across more like a Comic-Con cosplayer instead of a new take on the character.
At times, The Matrix Resurrections provides a unique commentary on Hollywood and society's love affair with nostalgia and legacy sequels. Simultaneously, it embodies what the film is satirizing: a legacy sequel meant to milk audiences of their nostalgia for The Matrix. It makes me think that for corporate products like this film, filmmakers tend to feel the need to limit part of their visions to tick off a box for their movies to be considered releasable by the studios. For instance, exciting action set pieces, state-of-the-art visual thrills, laugh-out-loud jokes, and character dynamics meant to shake up fan expectations. In some respect, I can understand that. Yet, for this instance, the intents behind this new installment feel, for the most part, like a corporate-minded one for Warner Bros. to make extra profits. Is it a worthy follow-up to the Matrix series? That depends on how much one enjoys meta-humor or commentary in legacy movies. Although, it can be seen as an experimental one-off that will either age better or poorly over time.
Final Score: 7 out of 10
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