The Matrix (new full length review)

4/4 stars

The Matrix is one of the most watched and emulated masterpieces of the last ten years, a commercial success and an aesthetic touchstone. But what is it that really makes it so good? On a basic level, the plot is fascinating, unpredictable and well executed. The movie follows the blueprint of many of the great blockbusters by combining action, mystery and romance. The visuals, of course, are innovating and immersive. The performances are also well handled, Keanu Reeves isn't exactly introspective, but he strikes the right notes; Hugo Weaving is merciless and imposing; and Laurence Fishburne makes Morpheus into a figure of admiration and charisma.

The key to the film's greatness though, in my opinion, is its mastery of each of the genres that it borrows from. The first hour or so of The Matrix is the most atmospheric and stylish neo-noir I've ever seen, so much so that when Christopher Nolan set out to create his own noir film Memento, the reuse of Joe Pantoliano and Carrie-Anne Moss from this film seemed wise yet intuitive. The opening act of The Matrix is moody, paranoid and suspenseful. It also presents its fictionalized subculture (in this case drugs and computer hacking) fearlessly, a mark of both great neo-noir (Brick, for example) and great dystopian sci-fi. Which brings us to the next genre: when The Matrix trades its grimy city streets for an even grimier post apocalyptic wasteland, it realizes the futuristic weirdness of a science fiction landscape perfectly. The "real world" of the Wachowski brothers' creation is imagined in thorough and thoughtful detail, with a number of strange yet logical eccentricities (the hovercraft, their EMP weapons, the flavorless food that comes from a faucet) that make it memorable.

The Matrix also utilizes two distinct action film genres in a clever combination that was one of its most borrowed traits. One is American style pseudo-realism, with its obsession for authentic guns and modern military technology. The other is the foreign martial arts film, whose conventions are worked into The Matrix in clever and unexepected ways (the virtual dojo scene between Reeves and Fishburne for instance). But the true brilliance here is the way that the two are seamlessly combined in the film's final act. Neo must use the fighting techniques represented by both on his way to final victory. This style of fighting may be the truest part of the vision the Wachowski brothers brought to the film.

Finally, there is the often cited philosophical core of the film. Those doubting the sincerity behind the use of this term may want to familiarize themselves with its definition. Ponderance of reality, of what is known, what can be discerned from the senses, and of the true nature of existence is the very core of philosophy. In short, Jules and Vincent arguing about the intention behind a footrub in Pulp Fiction is not really philosophy, Morpheus's question "have you ever had a dream, Neo, that you were so sure was real..." most certainly is.

(Note: One of the first film reviews I ever wrote, as a homework assignment in the 9th grade, was of this very film. I hope this second attempt is an improvement.)