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Loved the abstraction of a aftereffect to The Matrix, hated the hit-and-miss execution. Loved the stunts, hated the deep-dish speechifying — Morpheus (Laurence Fishburne) sounds like James Earl Jones hawking Verizon. Loved how those cyberpunk hotties Neo (Keanu Reeves) and Trinity (Carrie-Anne Moss) capital to get it on, hated how unsexy it was aback they did. Loved the Oracle, hated the Architect — the arrogant who calls cool-dude messiah Neo "the aftereffect of a systemic anomaly." Keanu's countenance furrows unphotogenically as he chews on that one.
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And so it goes. If you accord to the abbey of the Matrix, afresh I'm a heretic. But apathy the faults of The Matrix Reloaded blinds you to the film's actual absolute triumphs. Make no mistake: Eyes will pop, fretfulness will jangle, thoughts will be affronted and added summer blockbusters will compress in comparison. But to adduce from one of the few cultural touchstones not referenced in this film: "Houston, we've got a problem."
That problem, besides some corrupt autograph and acting, is expectation. Aback The Matrix debuted in March 1999, the abstraction of Andy and Larry Wachowki — two academy dropouts from Chicago — has ballooned into a cult. Not aback 2001: A Space Odyssey and the aboriginal Star Wars leash has the adolescence admirers latched assimilate a accurate eyes of a approaching bearing and mined it so agilely for accuracy about its own. It's accessible to see why. Thomas Anderson (Reeves) is a software allowance bondservant aback Morpheus tells him that his absoluteness — our absoluteness — is an illusion. We all alive in the Matrix, a affairs created to abstract us with fantasies while angry machines blot out our activity force. Hey, that's Hollywood's job.
["400px"]Morpheus thinks Thomas is Neo, the One who will save bodies from machines. That agency Neo gets to bung aback into the Matrix, dress in black, bang ass, contrivance bullets in slo-mo, cascade acumen like a aerial priest, save the apple and see what Trinity's got beneath that coiled latex.
No admiration a nation of ambitious Neos has been agog for added Matrix. And aback the Wachowskis aloft the bar on adroit action, the appeal is to accession the bar again. How does a aftereffect alive up to that?
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It can't. It doesn't. The Matrix Reloaded sags beneath the amount of anticipation. After a affliction aperture in which Neo dreams of Trinity falling to her death, the adventure switches to Zion, the underground burghal area bodies accumulate to apprehend addled speeches and ball at night to an orgiastic drumbeat that prompts Neo and Trinity to band and screw. The accomplished Zion arrangement is a broken-down bust, breeding embarrassment, not heat.
Things advance aback Neo plugs aback in to the Matrix, sees the Oracle (the late, abundant Gloria Foster) and takes on the angry Agent Smith, played by Hugo Weaving, who sneers scarier and funnier than any cine robot. Suddenly, Smith morphs himself into a hundred all-kicking, all-sneering Smiths. It's the film's best activity scene, abutting to the car hunt (see box), and has fatigued the acrimony of critics who admiration why Neo — who can fly like Superman — didn't fly abroad to alpha with. Accessible answer: He's accepting fun, messing with the Smiths, testing himself and giving us what we want. For the rest, Neo follows the aisle to acumen that leads him to the Keymaker (Randall Duk Kim), a quiet array he kidnaps from the Merovingian (Lambert Wilson) — a French weasel (how topical) with a wife, Persephone (Monica Bellucci), who demands a kiss from Neo as animus on Frenchie for programming blondes to accord him draft jobs.
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But that's addition story. By the time Neo finds the Architect (Helmut Bakaitis), the Wachowskis accept put calm a mix of culture, kung fu, sci-fi and speculation, that makes them the angled wonders they are. Aback the blur ends with a "To Be Continued," the hooks are in for The Matrix Revolutions on November 5th. Maybe I've been programmed to say it, but I am so there.
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