My review of Revolutions (Part 1)
Everything that has a beginning has an end.
Revolutions pick up at the exact point in time where Reloaded left us cliff-hanging. Neo’s in a coma, with Trinity watching over him, and with a comatose Bane, infected by Smith, lying opposite him in the sickbay of The Hammer.
But the movie doesn’t close the Matrix Book with finality. Some of the questions posed in Reloaded are solved, some are left open, and may never truly be answered. This will annoy some movie-goers, who’re used to having mainstream Hollywood movies spell out the plot and answers, to there’s no room left for thought and reflection.
But those who require a book-end like “Return of the Jedi”, will not get it.
The visual effects are mind-blowing. They’ve reached a point where it’s no longer possible to tell real stuff from computer graphics, such as the epic battle between humans and machines in the last free city of Zion.
Revolutions is the second half of Reloaded and its climatic finale. And it’s racing along with a pace that can leave you breathless. Even then it manages to stay true to the taste of its predecessor and bring up the philosophical points in a way that movie critics either hate or love.
To get the full benefit of Revolutions, the viewer also needs to’ve played the game Enter the Matrix, and watched the nine Animatrix cartoons. There’s a host of characters, Niobe, Ghost, Sparks, The Kid and even the Trainman, whose stories are not told in Reloaded, but in the game and Animatrix.
Where Matrix and Matrix Reloaded pay tribute to myth and legends from around the world, both Greek, Roman, Hindi, Buddhist, Christian and Norse, as well as fairytales such as “Alice in Wonderland” “Behind the Looking Glass”, “Wizard of Oz”, and William Gibsons cyberpunk genre, “1984”, Revolutions use the darker aspects. The Merovingian comes out in all his “Lord of the Underworld” powers, seated up high in Club Hel, like Hades, controlling and ruling the netherworlds of the Matrix. The topics are death and destruction, spelled out in the character of Seraph as a “Fallen Angel.” And in Neo’s desperation, as he, despite his powers having extended to the real world, are faced with too many enemies.
The Trainman resembles the frightening spirit “Bob” from Twin Peaks, and his role is a blend of a scary Sandman and an evil wandering spirit. In some places the music bears a resemblance to the characteristic theme of Terminator, and there is a clear tribute to the Alien-movies. The machine city resembles a gothic surreal Dantes Inferno, with jagged black towers, and spiderlike machines.
The inspirations from Japanese Anime and Frank Herbert’s Dune are even stronger in Revolutions than in the two previous movies. The main-characters are not at the forefront anymore, but drawn back to a state of “spiritual presence.” Distant, larger-than-life, aside from a very emotional scene between Neo and Trinity near the end of the movie, which contains the essence of this movie. What it means to be a human being.
Neo’s fate bears a resemblance to that of Paul Atreides from Dune Messiah and his son in God Emperor of Dune.