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By following up their debut thriller
Bound with the 1999 box-office smash
The Matrix, the codirecting Wachowski brothers--Andy and Larry--annihilated any suggestion of a sophomore jinx, crafting one of the most exhilarating sci-fi/action movies of the 1990s. Set in the not too distant future in an insipid, characterless city, we find a young man named Neo (Keanu Reeves). A software techie by day and a computer hacker by night, he sits alone at home by his monitor, waiting for a sign, a signal--from what or whom he doesn't know--until one night, a mysterious woman named Trinity (Carrie-Anne Moss) seeks him out and introduces him to that faceless character he has been waiting for: Morpheus (Laurence Fishburne). A messiah of sorts, Morpheus presents Neo with the truth about his world by shedding light on the dark secrets that have troubled him for so long: "You've felt it your entire life, that there's something wrong with the world. You don't know what it is, but it's there, like a splinter in your mind, driving you mad." Ultimately, Morpheus illustrates to Neo what the Matrix is--a reality beyond reality that controls all of their lives, in a way that Neo can barely comprehend.
Neo thus embarks on an adventure that is both terrifying and enthralling. Pitted against an enemy that transcends human concepts of evil, Morpheus and his team must train Neo to believe that he is the chosen champion of their fight. With mind-boggling, technically innovative special effects and a thought-provoking script that owes a debt of inspiration to the legacy of cyberpunk fiction, this is much more than an out-and-out action yarn; it's a thinking man's journey into the realm of futuristic fantasy, a dreamscape full of eye candy that will satisfy sci-fi, kung fu, action, and adventure fans alike. Although the film is headlined by Reeves and Fishburne--who both turn in fine performances--much of the fun and excitement should be attributed to Moss, who flawlessly mixes vulnerability with immense strength, making other contemporary female heroines look timid by comparison. And if we were going to cast a vote for most dastardly movie villain of 1999, it would have to go to Hugo Weaving, who plays the feckless, semipsychotic Agent Smith with panache and edginess. As the film's box-office profits soared, the Wachowski brothers announced that The Matrix is merely the first chapter in a cinematically dazzling franchise--a chapter that is arguably superior to the other sci-fi smash of 1999 (you know... the one starring Jar Jar Binks). --Jeremy Storey
It has some of the pop-intellectual momentousness of the first "Terminator," but without the wrenching emotions of that movie. We are all living, it turns out, in "the matrix"-a seeming reality controlled by artificial intelligence and policed by vicious men in black. The few people who are free hole up in a space capsule somewhere above the earth, and Keanu Reeves, who is first seen strapped down, with needles and other paraphernalia stuck into him and a disgusting little creature inserted through his belly button (unfortunately for him, he's got an inny), eventually joins the free and becomes a liberator. He fights the bad guys by flying through the air and engaging them in a rhythmic version of kung fu that has the clickety-clack excitement of tap dancing. The movie is nonsense, but it does achieve a brazenly chic high style-black-on-black, airborne, spasmodic. With Laurence Fishburne, who intones his lines rather than speaking them, as the leader of the free men and women. Written and directed by Larry and Andy Wachowski. -David Denby
Copyright © 2006
The New Yorker
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