Review -- The Matrix Resurrections

The Matrix Resurrections (2021) -- What is identity? What makes us who we are? Are memories fact or fiction? 

The third sequel to the revolutionary The Matrix, The Matrix Resurrections poses these questions and gives us theories to ponder long afterwards. It is an intriguing and sophisticated blockbuster, deconstructing its own world and daring to look at the trilogy's story from a new angle. Going back to the original with dashes of Blade Runner and Eternal Sunshine of the Spotless Mind, Lana Wachowski's work plays out like a dream version of a film noir. It makes bold storytelling choices and is likely not going to be what you might expect... and it pays off.

**SPOILERS AHEAD**

Thomas Anderson (Keanu Reeves) is a celebrated video game developer who is somehow unable to find himself in his life. Apart from having issues with dreams versus reality, he keeps running into a woman (Carrie-Anne Moss) reminiscent of one of the game characters that he had created... but who is she exactly? And who is Thomas? The Matrix, now ominously modified, holds the answers... 

Revealing any more of the plot would be akin to criminal, since viewers should discover the film and its surprises for themselves. This is a work that is not satisfied with merely continuing the story. It is one that rightfully enjoys its uniqueness and dares its characters and audiences to do the same. 

Utilizing meta elements and going deep into its characters' psychology, Resurrections examines the ideas of identity and memories. Trinity, once anything but traditional, is now married with children and saddled with a generic name. Neo is a corporate drone, a fate that he was trying to escape in the first film. However, while the two characters liberated themselves from machine oppressors in The Matrix, this time their awakening goes deeper than that. This time, they manage to awake from lives that were imposed on them. "How do you know if you want something yourself or if your upbringing programmed you to want it?" muses Trinity in her Tiffany guise. Indeed, how many people bow to convention just because it is how it has always been done? Both Neo and Trinity have feelings of living wrong lives simmering just beneath the surface, their authentic selves waiting to break out and reconnect. Proving that one cannot escape their identity, memories or destiny for that matter, they discover themselves again through a set of extraordinary circumstances.

The film also makes some sharp observations about integrity in the context of a world that views people and their actions through the lens of dollar bills. Where is the limit to cashing in? Is there one? The dialogue at the beginning about making a video game sequel is delightfully clever, particularly in light of the fourth film's history and a one-time absurd decision to replace Lana and Lilly Wachowski. This part feels like gentle disdain for Warner Bros. Pictures, with Lana Wachowski using the sisters' creation to justifiably criticize a desire to cash in without thought or input from the brains behind the original.  

The cast is incredible and well chosen, playing their roles with gusto. Reeves inhabits Neo's new personality with ease, a glint of the hacker's rebellion always in his eyes. Moss taps into Trinity's wistfulness while re-establishing the essence of the sensitive warrior. Their chemistry is unbeatable and the screenplay handles the iconic central romance with care. Jonathan Groff is such a pleasant surprise as Smith that it is difficult to comprehend that the actor had not played many villains or made an action film before. As well as impressing with the physicality of the role, Groff finds new ferocious dimensions to Smith, further exploring his desire for power and survival while paying subtle homages to Hugo Weaving's portrayal. Neil Patrick Harris is enjoyably shady as Neo's analyst and Jessica Henwick strikes a balance between Bugs's compassion and determination. Finally, Yahya Abdul-Mateen II finds a playfulness to Morpheus and further shows off his action skills in dual parts. 

On another note, Daniele Massaccesi and John Toll's cinematography is stunning, showing off some gorgeous shots. From the opening scene to a sunset, from a sprinkler gunfight to a flight through the pods, the film is a feast. The music by Johnny Klimek and Tom Tykwer is also a fantastic addition, hearkening back to the original score yet finding new facets and adding the dynamic sense of gravity that the pair had previously injected in a number of Tykwer's films.

The Matrix Resurrections is a welcome refreshment in the world of blockbusters. Turning a known narrative upside down in order to bring something new, unexpected and ingenious to the table is a liberating move, especially when at least five new superhero films are announced every week and creativity is not the currency that it once was. Resurrections is dazzling and engaging, both thematically and visually. You will love going down this rabbit hole.  

10/10