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And yet here is Lana Wachowski, pushing back against the tired form and offering audiences something fresh, curious, and funny as hell.
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A universe in which imagination has curdled into what can most easily be bought and sold. This is the cinematic reality into which The Matrix Resurrections enters, over 20 years after its original incarnation debuted in 1999: A universe laden with sequels and reboots and constantly updated IP. Maybe it’s difficult to identify an ideal blockbuster in contemporary Hollywood, drawn as it is to weak craft, characters with little interior dimension, and an understanding of representation that reduces gender, race, and sexuality to items on a marketing checklist rather than world-building attributes of a story. With swift and bright characterization, it allows actors to operate in a grander register, aching to fill the space of dizzying visual landscapes around them.
#The matrix path of neo youtube movie
After all this time, what does the blockbuster have left to offer? At its platonic ideal, a big-budget, mass-marketed movie induces pleasure.