There’s nothing to unlock in “The Matrix Resurrections,” Pappademas writes. “It’s a movie whose password is ‘password.’ ”
Having maybe said in four words all that she felt she needed to say on this issue, Lilly did not collaborate with her sibling Lana Wachowski on “The Matrix Resurrections,” a new “Matrix” sequel whose first act is a barely metaphorical rebuke of the many people who’ve either willfully or just obtusely misread and misappropriated the ideas of “The Matrix.” In “Resurrections,” Neo is back to living the life of Thomas Anderson.
Thomas just listens, looking like he’s going to be sick. “Resurrections” is, in other words, a piece of corporate I.P. exploitation about how corporate I.P. exploitation ruins everything cool, a sequel about why sequels suck, a big “Fuck you” from Lana Wachowski to Warner Bros. that Warner Bros. gets to release in theatres and on HBO Max just in time to boost its fourth-quarter results. Everyone involved gets to have their virtual steak and eat it, too.
What “Resurrections” has to say about the exploitative nature of sequels, the tendency of sheeple to opt for lives of superficially comfortable, algorithm-controlled bondage, or the cyclical nature of life itself is ultimately less interesting than the way it symbolically repositions its male lead.
In the second and third “Matrix” movies, Neo seemed increasingly burdened by the role of world savior and Reeves seemed increasingly weary of playing one. There is no creative act so exciting that it won’t start to feel like a job if you have to do it over and over. The wittiest thing about the “John Wick” movies is the way they build their storyReeves’s disinclination to keep going back to the well—they’re all about a hit man, for whom making hits is a soul-killing way to make a living.
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