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10 minutes ago, Tommy said:

I have seen the first two in the cinema, and I have never watched the third part. Did I miss out?

Not really. To be honest there should have never been any sequels at all... I'm still excited for the fourth though xD 

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The beauty of this is that they can do anything they want at any point in the Matrix considering its just software and has endless branchings. Curious to see what does finally happen though. The Wachowski's haven't really had a good string of movies since the original Matrix movie.

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52 minutes ago, Mel81x said:

The beauty of this is that they can do anything they want at any point in the Matrix considering its just software and has endless branchings. Curious to see what does finally happen though. The Wachowski's haven't really had a good string of movies since the original Matrix movie.

That worries me as well. The first was a brilliant idea. 

If they are doing this because they have got a genuine script, then I am excited.

If they are doing this because it's the latest fad of cashing on old hits (by remaking or adding a sequel) then that's worrying. 

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4 minutes ago, IgnisExcubitor said:

That worries me as well. The first was a brilliant idea. 

If they are doing this because they have got a genuine script, then I am excited.

If they are doing this because it's the latest fad of cashing on old hits (by remaking or adding a sequel) then that's worrying. 

My guess is that because the Architect in the second Matrix explains how the equation works and that they need someone to be introduced as the One to unbalance the equations to perfect it that the reprising roles of Keanu and Carrie-Anne would be paired with a catalyst for something changing in the plan. This then leads the Matrix to try and nullify the problem and that's where the new story-line kicks in. Like I said, they left it so open-ended even with the third movie and I remember sitting there thinking that surely there was more but it was a post-lull that they were forced to write into the script just so that if they wanted to they could bring the whole series back full circle.

I just hope they keep it all in the Computer-Sci realm and don't introduce aliens or any other oddities to try and turn it into an action-blockbuster.

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Really?

Why can't they just keep it as a the original trilogy? That's how it was known.

'Have you seen The Matrix?'. 'What did you think of the Matrix trilogy?'

Maybe it's just me being cynical but it's been so long since the trilogy I don't think I'll bother with the 4th. As much as I love the cast and concept back in the day. 

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9 hours ago, Stan said:

Really?

Why can't they just keep it as a the original trilogy? That's how it was known.

'Have you seen The Matrix?'. 'What did you think of the Matrix trilogy?'

Maybe it's just me being cynical but it's been so long since the trilogy I don't think I'll bother with the 4th. As much as I love the cast and concept back in the day. 

To be fair the fact that it was a trilogy is an abomination as well. Its still one of the single best movies ever imo even despite the sequels. 

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Quote.thumb.png.005e27498058209b14b9167a3ef8d756.png

What is The Matrix?

BB18DnWt.img?h=571&w=799&m=6&q=60&o=f&l=

There it squats, a menacing Death Star at the pinnacle of Hollywood's summer release schedule, spitting fire and ruin on all who approach it – Star Wars: The Phantom Menace, a movie emitting lethal box-office anti-gravity waves. Pity the fool who schedules his film to open anywhere near the oncoming behemoth.

No wonder producer Joel Silver was anxious about his effects-heavy, $60 million cyberspace thriller The Matrix. To get it the hell away from Star Wars, he spent an extra $4 million on speeding up post-production, helping his directors, brothers Larry and Andy Wachowski, meet a drastically forwarded release date. It would prove a good investment. The Matrix opened in America on 31st March. It took $27.7 million at the box-office in its opening weekend, breaking all records for Easter weekend. By the end of April, it had scooped $117.3 million. After six years' work and 14 script drafts, and the development of techniques that would change the face of film-making, the Wachowski brothers' Big Idea had shown that 1999's sci-fi landscape will not be entirely based around Tunisian deserts.

BB18HuxA.img?h=602&w=799&m=6&q=60&o=f&l=

Little wonder that Silver – the blockbusting executive who stretched his Lethal Weapon marque into four films – is pressurising the Wachowskis for two sequels.

Without revealing too much of The Matrix's epic construct, the premise at the film's heart is that life – and reality itself – is a computer illusion designed to conceal our own enslavement. Keanu Reeves is Neo, a hacker who may or may not be “The One”, for whom a team of cyber outlaws, led by Laurence Fishburne, have long been waiting.

It is “The One” who will lead humanity out of the dark – as long as he can defeat the sinister, invincible “Agents”. If Star Wars is a flag-waving alternative Creation myth, The Matrix crystallises sci-fi's darker, dystopian tendencies with its dispiriting vision of existence.

Modern American audiences, it appears, like this idea an awful lot.

The Matrix was a gamble for everyone. When the Wachowskis talk of "rejecting any system that's supposed to regulate thought", they are referring as much to the conventions of sci-fi special effects as they are to the social structure that is the setting for The Matrix. Their development of an innovative slow-motion filming process called "bullet-time photography" was crucial if they were to successfully blend chop-socky kinetics, manga drama and post-William Gibson narratives on screen.

"We tried to put in every genre we could think of," says Larry Wachowski. This meant the film's Visual Effects Supervisor, John Gaeta, would spend two years finessing certain shots. He needed 150 cameras and a “laser-guided tracking system” to help Keanu dodge bullets and fight in mid-air.

But the end result was worth it. As Geof Darrow, The Matrix's Conceptual Designer puts it: "They were the guys who were finally going to do it: put a comic book on the screen."

The other interested parties took risks, too. Warner Brothers had to erase memories of mega-budget duffers such as The Postman and The Avengers. The film's topline star, Reeves, once big box-office booty, had become the open-joke fronting Feeling Minnesota and, notably, wannabe-clever sci-fi flick Johnny Mnemonic.

As for the Wachowskis, they had to justify Silver's big-bucks faith. That, and finally achieve the measure of control they had sought since their script for Assassins was defanged and castrated by star Sylvester Stallone and director Richard Donner in 1994. Donner, the brothers were always fond of reminding people, may have directed the Lethal Weapon movies, but he had also directed TV's The Banana Splits.

The Wachowskis' only previous experience of directing, 1995's “lipstick lesbian noir thriller” Bound, had brought further headaches. The suits wanted Gina Gershon's "more masculine" lesbian changed to a man. America's film rating board demanded cuts for what they called "hand sex". However, Bound enjoyed some critical and commercial success.

"Neo is trying to figure out his life. He feels something is wrong. He doesn't trust what's around him, so he removes himself from the world and is seeking his answers monastically."

Keanu Reeves

Larry and Andy Wachowski had developed their ideas for The Matrix while working for Marvel Comics. "Comics and movies are very similar worlds," says Larry. "Both have very short attention spans, but at least comics aren't afraid of ideas." Idea-phobia dogged their early years in Hollywood. One script, Carnivore, "was about eating the rich. Nobody in Hollywood wanted to make it, because everyone in Hollywood is rich."

After dropping out of college they began writing dialogue for the comic adaptations of Clive Barker's Hellraiser. It was there that they met Steve Skroce, who would become a key storyboard artist on The Matrix.

Drawing on their obsessives' knowledge of comic-book art and movie iconography, from Westerns to Hong Kong action films, the Waschowskis had a team of artists "draw" their putative film from beginning to end. They presented Warner Bros with 500 storyboards.

"I did drawings for all the 'bullet-time' stuff," says Skroce. "When they described Neo dodging the bullets, Larry would stand up and actually do the movement and fall back. They knew exactly where his arm would be and how his cape would move. He did it a few times so I could sketch it. Eventually, they showed the boards to Keanu and said: 'Do this...'"

"It was pretty much bruises and bumps every day," says Keanu's love interest Carrie-Anne Moss of her punishing four-month stint in martial arts training. Reeves showed up for training in a neck-brace, and chief villain Hugo Weaving – the actor-in-drag who wasn't Guy Pearce or Terence Stamp in Priscilla, Queen Of The Desert – eventually required hip surgery. Then he cracked two ribs and hurt his hand when he came back to work.

Of his Matrix character, Reeves says: "Neo is trying to figure out his life. He feels something is wrong. He doesn't trust what's around him, so he removes himself from the world and is seeking his answers monastically."

When he saw the script in 1997, Keanu himself was, he says, "working on those questions". Of course, he was. But let's not forget: Keanu took a flyer with an abstract idea about a virtual messiah posited by two unknown (in their own words) "schmoes from Chicago". And Keanu passed on Speed 2.

How dumb can he be? In the end, everyone got what they wanted. Joel Silver and Warner Bros now have a hot franchise on their hands. The Wachowskis are beating off the hot-money investors with a bat (Carnivore has – surprise, surprise – recently been green-lighted)

.Their long-planned dramatisation of Alan Moore's all-time comic classic V For Vendetta will now be exceedingly well-funded. Carrie-Anne Moss was an also-ran two months ago; now she's a star. This is a script that talked of technology that hadn't yet been invented. Keanu Reeves can demand $15 million per project. And claim his dignity back.

Best of all, discerning, Star Wars-weary sci-fi fans have a smarter, cooler movie to relish.

The future's dark, the future's brilliant.

https://www.msn.com/en-gb/entertainment/movies/what-is-the-matrix/ar-BB18DnWB?li=AAnZ9Ug

 

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  • 1 year later...
4 hours ago, Tommy said:

Is Keanu Reeves' beard permanent? All I see is John Wick. 😬

They should have given him short hair, it’s too distracting.

I liked the original film, but the sequels were just nowhere near as good (Borderline terrible in a lot of parts) so i’m very skeptical. The visuals are great though. 

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Pleasantly surprised by the trailer. Instead of comparing to the first film which is a classic, i'll just enjoy it for what it is. And i'm sure it will be an enjoyable film to watch. It almost feels better we've waited so long, now feels like the right time for a Matrix sequel. xD

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The Matrix in a nutshell is just "Poor coding that needs to be fixed". Still think it looks good even if its all just the same simulations leading towards the inevitable which I suppose is what Lana Wachowski is going for. We get a deprecated rogue agent who doesn't look half as good as Hugo Weaving and that Morpheus look-alike but hey we'll get dynamite action sequences (hopefully) and bullet time capture again.

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On 10/09/2021 at 00:52, Devil-Dick Willie said:

A movie with 2 awful sequels is getting another sequel. From the director of Jupiter Ascending and other such masterpieces xD

Cloud Atlas was great though. :ph34r:

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