The Matrix revisited part II

"The Matrix Revolutions never had a chance. The collective disappointment over Reloaded was too potent to allow another sequel a fair glimpse, especially since it was released so closely after that disappointment resonated. The response and general investment in the Matrix trilogy was basically deflated by the time Revolutions came around, and that unfortunate truth is why Revolutions was unfairly plagued. The third and final film in the Matrix trilogy is unlike anything we’ve seen in movies in some time. Revolutions is a fascinating, if incomplete adventure that is sorely affected by its surprising unevenness, yet somehow remains spectacular and worthy. Most unnerving is how its flaws are unquestionable evidence that the rumors of the Wachowski Brothers reconstructing the film to please a wider audience are true. This unsavory truth is more frustrating than the worst flaw in any of the movies simply because it feels like none of us have truly seen the complete, absolute vision that the brothers initially created. Nothing is more irking and depressing than watching the flaws of Revolutions and wondering what it really was. And that unpleasantness is punctuated by the fact that so much of Revolutions is astounding visual and thematic storytelling done with such intensity and passion that you can’t help but enjoy it. When Revolutions works, it is undeniably astonishing. So astonishing, in fact, that it still challenges Reloaded and even the original in certain places. The Matrix Revolutions was poised to be the epic of the trilogy, but what it lacks unfortunately kept it away from that accomplishment. As released in theaters, Revolutions works effectively as an enormous sci-fi adventure, while concluding the philosophical thematic content on a particularly strong note. Many of Reloaded’s faults are still apparent, like certain choices with specific characters and unnecessary subplots, but the main focus is much smoother and concise, not to mention thoroughly entertaining. The narrative is taut and tense in Revolutions, and leaves a considerable amount of interpretation to its audience. Which is not to say Revolutions has no answers for the many questions proposed by its predecessor. One of the epic misunderstandings and downright bewilderments of this final chapter is how surprisingly unsatisfied audiences were by its supposedly ambiguous nature. Revolutions is indeed a conclusion to the story, and a conclusion that answers every single question posed by its two formers through imagery and sub-text, while raising even more complex and universal questions for the viewer to explore. More than any other film in recent memory, The Matrix Revolutions is a momentous achievement of visual metaphor and thematic symbolism, beautifully intertwined for a strikingly poignant finish to a massively accomplished trilogy.

The very outset of Matrix Revolutions presents something completely different and new, symbolic and important. And it’s something metaphorically introduced as the opening demonstration of code literally explodes onto the screen. For the first time in the trilogy, a bright light of spirituality bursts through the regular green code of the Matrix in the form of a bizarre, unseen image before reverting back to the neon imagery that represents the world of simulation. This barrage of images creates a significantly new philosophical connection between the world of mind and spirit, which fused with body will represent the core thematic arc of Revolutions that wondrously completes itself. These movies of ideas are brought to an engaging and moving conclusion with a finale that provides the most interesting and profound thematic insight within its narrative. In fact, Revolutions is so completely filled with conceptual material that aspects of the adventure can be easily misconstrued. The layer of adventure that disguises the heart of the Matrix is where the sequels confused audiences, simply because the surface level of Reloaded and especially Revolutions is admittedly not as straightforward as the original. As a pure adventure, the complexity and uncertainty that livens Revolutions is certainly divergent from the focused precision of the original. And that change can be understandably disconcerting, especially if Reloaded was so stressing to comprehend. But the surface of the films, as spectacular as they are, do not define their success. The nature of Revolutions is what makes it the most meaningful and profound chapter in the trilogy, and that final daring scope of Socratic questioning is why it concludes so triumphantly. The many labyrinthine layers of complexity in Revolutions begin immediately, and the importance of each one escalates more and more as the story progresses.

Revolutions begins exactly where Reloaded left off, an effective touch that immediately pulls the viewer into the central conflict. The first two sequences almost act as a preface to the actual start of the film - reintroducing the characters and conflict, while alluding to something mystically unknown about Neo and his state of unconsciousness. The first few moments reveal necessary points of exposition, most importantly the very short amount of time until the machines breach Zion and the Oracle’s message to have Morpheus and Trinity contact her immediately. The Wachowskis quickly set things in motion, taking little time before hurdling into significantly poignant territory. And it’s almost surprising that arguably the most important metaphorical conversation takes place literally five minutes into the film. But, then again, surprise is key to this final chapter.

While Neo’s body lays unconscious in the real world, his mind awakens in another. A world in-between the Matrix and Earth, where machines smuggle programs in and out of their simulation. Basically, Neo is stuck within the River Styx of the Matrix universe appropriately retitled Mobil Ave. And what unfolds during his time at this secretive place is extremely important in understanding where exactly his journey is destined. His first encounter is with a program named Sati, a young child that informs him about the location and a potentially dangerous character called the Trainman. Most striking about Sati is how innocently human she is, particularly when she discusses the notion of home in relation to the Matrix. She is genuinely interested in why Neo left the Matrix, and identifies with his departure by explaining that she herself had to leave her home. This is the first indication of something unknown about the reality behind the artificiality. Something about survival inherent in all living entities, whether they breathe air or use electricity. And while a philosophical analysis of the trilogy is better suited for an experienced scholar, the following conversation leaves the viewer with fascinating insight into Descarte’s famous slogan, “I think, therefore I am” by exploring new depths into the machine psyche. The sequence with Rama-Kandra is one of the most intriguing and moving pieces in the entire trilogy, and a clear symbol that the simplistic notions of good and evil challenged in Reloaded are even more substantially different than expected. With Rama-Kandra, the Matrix is confirmed as a reality, and its complete destruction is absolutely impossible if the war is to really end. Rama-Kandra speaks of love, of purpose, of life. A program that values beauty above all else. Beauty found in his daughter Sati, a program without a purpose simply because she’s an entity created from true passion in a world that doesn’t except incomprehensible virtue. The Matrix is very real, and that reality is something Neo begins to understand as he discovers more and more of its seemingly infinite layers. It’s because of this conversation that Neo finally realizes a truce is the only way to bring real peace, and that stability is impossible without mutual harmony. This segment is excellently performed by all the actors, with some of Keanu Reeves’ finest work. Reeves makes a wonderful arc throughout the entire trilogy, and his confidence as an actor is more than evident with his work as Neo. Keanu is perfect for this material, and he brings strength, vulnerability, and tenderness to this magnificent role.

Intercut between the conversation at Mobil Ave is the meeting with the Oracle and Morpheus and Trinity. And while the material with the Oracle is unfortunately hurt by the death of the great Gloria Foster, actress Mary Alice does a commendable job of stepping into the role with almost seamless ease. The Oracle is more prominent in Revolutions than its two predecessors, so imagining Foster’s charm is inherent when watching the less talented, but still worthy Alice. The Wachowskis neatly write around the situation, giving a sincere nod to Oshii’s Ghost in the Shell in the process. During their conversation with the Oracle, more information about the Trainman and his connection to the Merovingian is revealed. The Merovingian is a fascinating symbol of power within the Matrix, and after the Oracle sends our heroes to rescue Neo from his clutches, Revolutions becomes strangely disjointed.

Enter Club Hell

Once Morpheus, Trinity, and Seraph chase away the Trainman (the ever amusing and always enjoyable Bruce Spence), they realize the only way to save Neo is to openly face-off against the Merovingian and his cronies. This section is oddly structured, with moments of amazing spectacle mixed with surprisingly quick conversation. The entire ordeal is extremely important and supposedly hellacious, yet it’s resolved with anticlimactic ease. It’s difficult to believe the Merovingian would hand over his treasure so easily when he’s such a pivotal character of force within the Matrix. Our heroes essentially enter the club, kill a few people, point a gun to his head and the entire conflict is over. It feels rushed and incomplete considering what powerful intellect and strength the Merovingian possesses. The brief, yet outstanding set-piece in the coat-check room is short, but sweet. The shoot-out brings an effective symmetry with the lobby massacre in the original, with a plethora of mind over reality moments of sensation. Most effective about the sequence is that it seems to be building tension - tension that never seems to pay-off. Once Seraph, Morpheus, and Trinity dispose of the coat-check guards, their real threat lays ahead: The Merovingian. And once the Merovingian notices their entrance, he immediately sneers at their seemingly insignificant efforts with his wonderfully egomaniacal air. He’s not threatened by their presence, and he’s certainly more capable of simply succumbing to the minor danger of a gun pointed to his head. The entire section is somewhat stilted, even with its moments of excellence and highly enjoyable verbal dispute between the opposing forces. Lambert Wilson does tremendous work yet again, even in his regrettably brief screen-time. He has arguably my favorite line the entire film with, “It’s remarkable how similar the pattern of love is to the pattern of insanity”, and gives a genuinely heartfelt performance as this fascinating program of power. Hopefully this character is explored further in another medium sometime soon.

What follows the strangely uneven situation at Club Hell is even more bizarre once Trinity and Neo are reunited at Mobil Ave. This is perhaps the clearest lapse of problematic internal logic in a trilogy with very little narrative holes.

“Everything that has a beginning, has an end”

Once Neo is rescued from Mobil Ave he returns to the Matrix. However, as far as we know, his body is still laying unconscious on a table in the real world. This question of how he’s able to separate mind and body is even proposed in the coming conversation with the Oracle, and the answer is intriguing and important. However, once the sequence concludes, we see Trinity unplug Neo from a console with every crew member of the Hammer surrounding him. This edit is extremely misplaced. When did Neo awaken in the real world and willingly re-plug into the Matrix? While it’s safe to presume all of this happened between Neo’s reunion with Trinity in Mobil Ave to the following edit to the Matrix, the sequence is marred by another problem. Once in the Matrix, Morpheus contacts Link in the real world, who appropriately asks, “did you find Neo?”. This question leaves the viewer to surmise that Neo is indeed still unconscious on that table, and did not awaken once rescued. Yet once his conversation with the Oracle concludes, he unplugs from the Matrix at a console! Let’s deconstruct this sequence of events once again in a more organized manner.

-Neo lays unconscious in the real world, unplugged on a table.

-Neo’s mind awakens in Mobil Ave. A world between the Matrix and Zion (real world)

-Trinity rescues Neo from Mobil Ave by evidently using the train from Mobil back into the Matrix.

-Neo still hypothetically lays unconscious on the table, while his mind re-enters the Matrix. This would mean that Neo can connect to the Matrix without plugging in.

-Morpheus, Neo, Trinity and Seraph are reunited in the Matrix.

-Morpheus contacts Link in the real world, who asks, “did you find Neo?” Morpheus responds, “can’t you see him?” Link answers, “we were reading something, but we weren’t sure what it was”. This obviously means Neo is still unconscious in a different room, unplugged, yet connected to the Matrix. However...

-Neo visits the Oracle in which he asks, “how did I separate my mind from my body? How did I stop four sentinels by thinking it? Tell me just what the hell is happening to me” The Oracle reveals that the power of the one reaches to the source - its origin. Sensible, and a sufficient explanation for the situation at hand. Yet....

-The conversation concludes, and Neo is unplugged in the real world, sitting at a console with everyone watching him. Trinity unplugs him from the Matrix, which mean Neo absolutely did awaken in the real world and re-plug himself into the system.

So this sequence of edits can only mean one thing: Something is missing. The Wachowski Brothers are too smart and too efficient to originally create such a confusing segment of storytelling. This muddled structure is even further evidence of this film’s seemingly incomplete material. That being said, the material on display still happens to be fairly strong, especially the delightful and fascinating conversation between Neo and the Oracle.

The information revealed during Neo’s final visit to the Oracle is exceptionally important in understanding the fate of key characters and the actual revolution of the Matrix. The basis of the conversation is in comprehending the significance of stability and universal balance. There’s a wonderful and powerful sense of duality throughout the entire trilogy, and that Yin-Ying philosophy becomes imperative during the final section and ultimate resolution of the film. The Oracle explores that essential duality that exists between her and the Architect, Neo and Smith, and the Matrix and Zion. If the war is to end, Neo has to find a way to redeem all aspects of the equation, and why redemption is the answer over destruction. But as the Oracle states, a powerful agent of nihilistic chaos is bent on eradicating all that lives in both worlds. And if Smith can’t be defeated, then all life will perish. The only answer in overcoming this fatalistic threat rests within Neo, and only he can resolve the matter by understanding his own purpose. And quite frankly, if that’s not spectacular storytelling, then what is? This is one of the best sequences in the film, and firmly establishes an epic forthcoming confrontation of ideological values.

To underline the importance of duality, the Wachowskis follow-up Neo’s conversation with the Oracle with a similar moment for Smith. However, Smith is there for another reason. The opposite reason. Chaos and power. The exchange between these two mighty characters is delightfully wicked and darkly enjoyable, with excellent dialogue and hilarious wit. Hugo Weaving clearly enjoys his character, and his comfort and confidence is intensely striking no matter how awkward his maniacal laughter is delivered. Once Smith has copied himself on the Oracle, the Wachowskis shift the next portion of the story to the real world and Zion, and before things get outrageously intense, The Matrix Revolutions faces its worst moments.

It’s interesting how both Matrix sequels follow a pattern of uneven material during end of the first act and beginning of the second. Like Reloaded, Revolutions struggles with unnecessary sequences of stilted drama and heavy exposition that never builds emotion or excitement as smoothly as it should. This stretch of plotting in Revolutions is hardly as unbalanced as some of the material in Zion for its predecessor, but it does regrettably slow things down. What works for Revolutions during this section is that like the original, the story focuses on a single ship and its crew members, Bane/Smith among them. The Wachowskis focus more on Smith interacting and eventually killing the humans around him until he finally reaches his prime target: Neo. Before their inevitable confrontation, the few sequences with Bane/Smith just aren’t terribly intriguing. The actor does fine work with the given material, but the entire subplot itself is rather tame and bland. There’s not a great sense of danger for anyone on board the Hammer, and when something fatal finally does happen, it’s not shocking or suspenseful. In-between this conflict, the Hammer locates the missing ship from Reloaded, the Logos, and Morpheus and Niobe are reunited. Neo continues to have visions of a path leading to the machine city, and finally realizes his destiny will be determined by whatever lies in that unknown place. Everything with Neo is excellent, since the main character is easily the most engaging. After he reveals his seemingly suicidal plan of journeying to the machine city, he shares another soft and effective moment of tenderness with Trinity. Carrie-Ann Moss and Keanu Reeves are wonderful together, and their emotional quest becomes exceptionally strong and powerful as they face the darkness of their fate. Not so effective is what happens to Morpheus during this section. He’s basically non-existent. His character has absolutely nothing to do beyond reacting to situations around him and give a touching farewell to Neo. And while that farewell sequence happens to be an emotional highlight of Revolutions, the majority of his material is empty and dry. Morpheus should be in Zion, defending the city from the oncoming invasion instead of appearing sporadically throughout this section. Niobe, however, becomes a surprisingly effective and important character, and the Wachowskis give her a particularly entertaining task of piloting the Hammer back to Zion without getting eviscerated by thousands of sentinels. Niobe was useless in Reloaded, but thankfully becomes useful in Revolutions.

The Wachowskis sort of plow through this section, almost like they realized how uninspiring and pleasureless it was. Each sequence moves decidedly quick, without tension or suspense building towards a pay-off. The Zion battle is clearly on the horizon, and things move as quickly as possible to get there. Unfortunately back in Zion, preparation leads to more unnecessary and dry subplots with pointless characters Zee and the Kid, although each character is thankfully reduced to only one or two lackluster sequences. Everything here feels excessive, especially when something fascinating is happening within the Matrix itself. Instead of exposition leading up to the battle in Zion, following Smith’s rampage and destruction of the Matrix would have been far more engaging. How did the machines and programs react to Smith’s chaotic spree? How did the Agents respond to Smith? The events destabilizing the Matrix would’ve been vastly superior than the preparation in Zion, not to mention more sensible in connecting to Neo’s ultimate aim. The main problem with this entire section is that the lead characters are almost treated like supporting characters. They’re set aside while this epic war is brewing, and that makes the viewer disconnect with the core emotional conflict. That being said, once the Wachowskis get back on track, things start to take off.


“Look past the flesh....and see your enemy”

Before Neo and Trinity set off for the machine city, a certain stowaway attempts to abolish their plan and very existence. The inevitable confrontation between Neo and Bane/Smith in the real world is an extremely pivotal sequence, albeit mildly entertaining. Because little to no suspense was built in this subplot prior to this moment, the fatalistic and emotional weight it means to carry is subdued. The overall sense of danger is ineffective since Neo and Trinity will undoubtedly survive, but what happens to Neo is imperative in understanding the final philosophical metaphor that essentially defines the trilogy’s thematic arc. Once blinded, Neo connects to the machines in another way - the most important way: Spiritually. Before decapitating Bane/Smith, he sees him as bright light glowing magically and beautifully in the oblivion of darkness. This introduces the final connection between Neo and the machines that once integrated will result in the absolute revolution of the story. Body, mind, and spirit have all been revealed, and that significance marks the final stretch of the Wachowskis epic vision. The rest of the film is soaring thematic content blended with astounding visual spectacle that completes the final pieces of the puzzle.

Like the chase sequence in Reloaded, the Zion dock battle simply speaks for itself. This enormous set-piece is easily among the most staggering, awe-inspiring segments of sci-fi spectacle since its first moment on film. The battle is fierce, epic, and frightening, and one of the most intense displays of visual effects in the history of film. John Gaeta, Dane Davis - hell, everyone involved with this piece of filmmaking did remarkable work in creating a deeply imaginative and atmospheric presentation of futuristic chaos. The Wachowski Brothers never tire of mesmerizing, and this entire section is what defines escapist entertainment. The battle essentially lasts until the very end of the film, and the emotional and visceral intensity continuously builds until a simply awesome climactic pay-off. Here’s an image that represents everything astonishing and horrifying about this incredible section of sci-fi mayhem.


Intercut between the battle is Niobe and Morpheus’ desperate race back to Zion in the Hammer, doing anything and everything to avoid thousands of sentinels on their tail. Niobe pilots the Hammer through the impossible complexity of a mechanical line in the real world, and every twist and turn is utterly flooring. The astonishing imagery and confident filmmaking demonstrate just how commanding and impressive the Wachowskis can be, and this sensational sequence never ceases to amaze on subsequent viewing. Truly incredible material.

The final stage is set for the resolution of the story, where everything comes to a triumphant conclusion. Neo’s journey to the machine city is yet another demonstration of the Wachowskis awesome imagination, with startling sci-fi imagery and powerful emotional crescendoes. The armada that defends the machine city is undeniably stunning, and Neo’s attempt to pierce through such a mighty force is epic adventure. Once Neo and Trinity crash into the machine city, that bizarre image from the preface makes its return - a mechanical city built of light and spirit ready to become one with the human anomaly created inside of it. By this point in the story, it should be perfectly clear that peace is the only option for Neo and Zion. The machines are too powerful, too smart, and too real to be utterly destroyed by an opposing force. The only salvation for Zion lies in truce, and Neo’s experiences in the real world and the Matrix have provided him with that understanding. The machines are not inherently evil, just another living entity that wants to survive in a cruel, unfair world. The destruction of the Matrix would only cause more harm to Zion than anything else. The existence of the Matrix solidifies a home for the machines and programs that peacefully inhabit it. This means the salvation of Zion will come through the salvation of the Matrix, and because of Smith, Neo has the opportunity to save both worlds to create a universe of harmony. Most fascinating about this dilemma is how Neo is uncertain how to achieve his goal. He understands peace is the only answer, but defeating Smith and bringing light (pun intended) to the world is still beyond him at this late point in the story. How he is to redeem the Matrix and save humanity is the essence of his purpose, and it’s not until his last moment of existence that he realizes the inevitability of his demise. Trinity’s fate is the same as Neo’s, and her final moment of life is significant and moving. She sacrifices herself for Neo, leading him along his journey with her intimacy and passion. Trinity’s love is what guides Neo to his moment of truth, and her final moment of tenderness is honest and touching, a spark of hope for an emotionally torn savior.

The Duex Ex Machina is the single greatest image in the entire trilogy. Good god.

“Neodammerung”

Neo enters the city of light and makes a truce with the spirit that dwells within it, an agreement that will bring freedom to both man and machine, save the Matrix and Zion, and unite body, mind, and spirit. Once united, the only result is bliss and peace, but nihilistic rage stands between that fine line of happiness and chaos. The final, climactic showdown between Neo and Smith is a battle of ideologies clashing together in the most metaphorically epic way imaginable. The Wachowski Brothers conclude their thematic arc incredibly well, with a beautiful sequence of comic-book spectacle symbolizing complex, intellectual literature. The ending of the Matrix Revolutions has been surprisingly misconstrued by audiences that felt something anticlimactic or unresolved. The fact is, everything is resolved. This is Neo’s story, and his journey comes to a significant and powerful end. His choices are what lead to a time of hope and peace in a world previously dominated by control. Neo’s accomplishment changes the core function of the Matrix. It’s not a system that enslaves at the end of Revolutions, it’s a real world for all that consider it real. The machines have a home without war. The humans have a home without war. This is exactly what Neo accomplishes. This is the Revolution of the story. With careful thought, this resolution is the only plausible and realistic conclusion for a story this complex and detailed. The ending is moving and memorable, and a beautiful way to conclude the trilogy. Neo’s moment of realization and purpose is one of the strongest emotional touches in the entire story - an epic finish for an epic journey. After war and battle, the only possible way to defeat his enemy is to succumb to inevitability and balance the equation. Destruction of his enemy is impossible in the simplistic definition of the term, but union of two identical, yet opposing entities will bring light from the darkness. Neo’s sacrifice is what joins body, mind, and spirit in all worlds, thus bringing truce, peace, and freedom. How long is that supposed to last? Like the Oracle states, “as long as it can”. A symbol of hope that represents both the greatest strengths and weaknesses of all living beings, and what ultimately balances the universe when destabilized.

The Matrix sequels are not perfect films, but they are works of genuine vision and should be appropriately commended for it. The Matrix Reloaded and Revolutions are escapist triumphs that explore fascinating depths of complex and profound issues, and that ambition is why they matter. The Wachowski Brothers are brilliant storytellers, and they deserve a proper acknowledgement for their vast and exciting imaginations. The sequels are intellectual undertakings that demand repeat viewing, but that confounding and inspiring nature is why they matter. The sequels request only one thing:

Free your mind"