# Matrix, The (1999)

### reviewed by
Brian Takeshita

    THE MATRIX

    A Film Review by Brian Takeshita

    Rating:  *** out of ****

It's an interesting premise. Our reality is only real to us because it is what we perceive to be real. In truth, our entire existences are lived out in our minds as we are fed information through electronic inputs directly to our brains. What we see, what we do, everything around us is nothing more than a computer-generated construct interlinked with the minds of others through a vastly powerful artificial intelligence. Our bodies, severely atrophied, are kept alive for the sole purpose of generating heat and electrical energy for a dominating order of machines which control the planet.

The sci-fi realm has been waiting a little while for something new to come along. THE MATRIX isn't it - the idea of a war between man and a sentient computer network, a sham world, the ability to plug one's brain into a computer, has all been gleaned from such sources as THE TERMINATOR, DARK CITY, and a few Star Trek episodes (both classic and Next Generation). What is new is the ability to weave all of these various elements together and succeed in producing a film that is both entertaining as well as thought-provoking.

Keanu Reeves plays a computer whiz nicknamed Neo, who is plucked out of the artificial world (known as the matrix) by a group of renegade humans who are clandestinely fighting to expose the fallacy of the computer-generated existence and free humankind from the oppression of the machines. The group's leader, Morpheus (Laurence Fishburne), has chosen Neo because he believes Neo is "the one" who is destined to lead the attack against the artificial intelligence.

>From the beginning of the film, we are kept on our toes trying to figure things out. This, in a lesser movie would be annoying, but THE MATRIX presents itself in an intelligent manner which makes the puzzle rather interesting and even fun. What is reality? What is a sham? The film turns our very perception of life on its side. More than once, we are also presented with the question of whether we would rather know the harsh truth of reality, or live a life of relative bliss, oblivious to the true nature of our surroundings. As viewers, this is intriguing enough, so imagine what it would be like for Neo. And who to better play a bewildered person than Keanu Reeves?

Reeves, whom I've never really cared for as an actor, is competent in roles which require a lot of straightforwardness, and little subtlety. He was good in SPEED, for example, but laughably poor in A WALK IN THE CLOUDS. Neo is actually one of those roles which Reeves slips into rather nicely, so much of my expectation was happily for naught. In a couple of places, the script even capitalizes upon his wooden nature, and this is a heavy credit to writers/directors Andy and Larry Wachowski. I mean, since BILL AND TED'S EXCELLENT ADVENTURE, what movie could you say really "utilized" Keanu Reeves?

More interesting than Reeves is Fishburne, who's Morpheus nearly runs the gamut of emotions, and convincingly so. Very surprising for a sci-fi movie. Fishburne also maintains a certain demeanor about himself throughout, as if he always knows what to expect. This helps to further the aura of his character's proficiency and extensive knowledge. Hugo Weaving as Agent Smith, one of the artificial intelligence's anti-intruder programs, is also good playing his deadpan, no-nonsense, kick ass role, which requires him to show emotion at the appropriate time. Unfortunately, when Weaving speaks for more than a few sentences in a row, the nature of his character's speech pattern becomes a little more laughable than impressive. Carrie-Anne Moss plays Trinity, Morpheus's number one assistant who becomes somewhat of a love interest for Neo. Although her character is somewhat inconsistent, Moss nevertheless delivers an above par performance when Fishburne isn't in the picture.

There were few expenses spared when it comes to the special effects. Many methods of imagery are employed, from modeling to bluescreen to computer graphics. Of special note is the use of the "freeze and turn" effect where the entire scene is frozen, turned, then continued from a new angle. This is accomplished by using a large number of still cameras employed in a semi-circle, with motion picture cameras placed at the two ends. The motion cameras film the action, and at the appropriate moment all the still cameras fire at once. Place each still image in a film sequence and you get a nearly seamless transition from the first motion camera to the second. Pretty slick.

THE MATRIX drips with style. From the clothing to the music to the action, we're watching an exaggerated version of what we're used to. Much of it seems like the combination of two genres of the Hong Kong action film - there's a lot of Kung Fu, there's a lot of gunplay. When a character is letting go with an automatic weapon, much is made of the empty cartridges falling to the floor in slow motion. There's also the element of the Japanese action cartoon (called anime by aficionados), especially in the way the sequences are filmed in sweeping pans and emphasized actions through special effects. Combined, it's really like no live-action film I have ever seen.

The film is not without its faults. Some of the scenes and ideas are "borrowed" a little too liberally from other films, and one component of the ending is decidedly disappointing. Some of the lines are also pretty bad - in one instance, a supporting character incorrectly delivers a famous saying, and it wasn't meant to be a joke. However, these shortcomings detract little from what is an overall solid action sci-fi film that for once does more than merely entertain.

    Review posted May 12, 1999

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