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The Matrix Reloaded finds every opportunity to start
a fight. It almost seems as if the intermediate scenes are just
a way to set up another opportunity for a kung-fu match. And yet,
the fights in The Matrix Reloaded are so well done, you
almost sit waiting for the next one to break out – and I
don’t even like fight scenes.
The camera work in The Matrix Reloaded surpasses that
of The Matrix with its smoothly
moving, stop-motion, bullet-time shots that weave in and out of
computer graphics. While The Matrix
introduced these camera techniques to us, Reloaded brings them
the next step further, adding an aesthetic element to the work
that was formally simply cool looking. There is a scene where
Neo fights multiple Agent Smiths that is perhaps the most beautiful
camera work I have ever seen. And have I mentioned I don’t
generally even care for fight sequences?
Underneath the visual aspects of the film is a story that we have
to remember is only half a story. This half of the story begins
with Neo (Keanu Reeves) struggling to understand who he is and
what his mission is. Continuing, although in a much different
light, the idea of Neo as a Savior figure, he finds he has power
over the physical world and receives adoration from the masses
– as well as from (his wife?) Trinity (Carrie-Anne Moss).
The Zion underworld, where the only remaining free humans live,
is under attack by the artificial intelligence machine world,
and is preparing to fight to defend themselves. In the meantime,
Neo is given instructions by the Oracle (Gloria Foster), and searches
to find the key maker who will allow him to the door that leads
to the nexus of the matrix.
Here we are introduced to various conflicts that will only be
resolved in The Matrix Revolutions. One of these comes
with the fact that after meeting with the Architect, Neo chooses
the door that will allow him to save Trinity instead of Zion.
Another deals with the idea that Neo believes he is not as significant
as he thought he was, that he’s really just an anomaly instead
of a something genuinely special. Morpheus (Laurence Fishburne)
refuses to believe it and continues have faith in Neo.
There are also a lot of interesting ideas about agency and various
symbolic connotations that deal with the nature of the matrix.
Where these themes are headed, however, can’t really be
decided until the story has been finished.
For now, we can simply enjoy the some of the best Sci-Fi cinematography
you’ll ever see with some precision camera work and quality
special effects. We can watch in amazement some high-intensity
action sequences and leave not believing we really saw what we
just saw. And I don’t even like fight scenes.
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