Kamera:
Bill PopeMusik:
Don DavisBesetzung:
Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, Steve Bastoni, Jada Pinkett Smith, Monica Bellucci, Daniel Bernhardt, Ian Bliss (mehr)Streaming (7)
Inhalte(1)
Zion, die letzte Enklave der Menschheit, wird von der Armee der Maschinen belagert. Gemäß Orakel kann nur einer den drohenden Untergang abwenden - Neo! Zusammen mit Trinity und Morpheus kehrt Neo in die Matrix zurück, um dort den Feind mit einem komplexen Waffenarsenal zu bekämpfen. Doch ihr schlimmster Rivale, Agent Smith, überrascht mit einer neuen Fähigkeit: Indem er sich beliebig oft reproduziert, bringt er Neo mit seiner Klon-Armee in höchste Gefahr ... (kabel eins)
(mehr)Kritiken (8)
Ein völlig anderer Film als der erste Matrix. Ich hatte das Gefühl, dass ihn nicht Wachowski gedreht hat, sondern James Cameron in Kooperation mit Paul W.S. Anderson. An Cameron hat mich die bombastische Ausstattung in Zion erinnert, an Anderson einige übertriebene digitale Effekte (Neos Gesicht im Kampf mit den Smiths ist ein böser Witz). Der Film hat keinen Inhalt. Dort, wo die vorigen Dialoge den Zauber der interessanten Idee mit der Parallelwelt genutzt haben, spielen diese Dialoge nur pseudo-intellektuell mit Worten. Sehr elegant sind die Faustkämpfe in Kombination mit dem exotischen Techno-Soundtrack. Die ganze Action auf der Autobahn ist fantastisch. Ich habe mich auch über die tollen Kostüme und die humorvolle Leichtigkeit gefreut (der Franzose Lambert Wilson und seine Vaginoskopie). Ansonsten ist aber Matrix Reloaded nur ein synthetisches formales Spielzeug und eine Fashion-Blase.
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Ich habe den Film damals grob unterschätzt oder eher überschätzt. Ich war auf der Suche nach mehr als nur einer perfekten postkulturellen Enzyklopädie, die mit Bedeutungen und Inspirationen überhäuft ist und narzisstisch in ihrer visuellen Schönheit aufgeht. Das war ein Fehler. Matrix Reloaded kann man nur genießen, wenn man es in dieser leicht launischen, aber kindlich ehrlichen Position akzeptiert. Jahre später sah ich einen Film, der die ganze Schönheit (erzählerisch, gedanklich, visuell) aller großen epischen Werke der Fiktion in sich zu vereinen schien. Es ist eine echte Fantasieladung, frei von jeglicher Selbstkritik, angetrieben nur von der Liebe zur Popkultur als Ganzes und auch von einer hervorragenden Idee, die das erste Buch zu einem märchenhaften Malbuch macht. Realoded ist eine erwachsenere, aber nicht weniger anregende Erfahrung. Was für frühere Generationen in Star Wars verschlüsselt war, bieten die Wachowskis in der Filmsprache des neuen Jahrtausends. Es tut mir aufrichtig leid für diejenigen, die es nicht zu schätzen wissen - das köstlich verschwörerische Gefühl eines Menschen, der sich in einer grünlichen Welt zu Hause fühlt.
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Ich erinnere mich an die zweite Matrix-Episode als etwas, das mich enttäuscht hat, denn Teil der Werbung war unter anderem eine starke Ausrichtung auf Monica Bellucci, die wirklich nicht der Hauptgrund sein kann, warum man sich Matrix Reloaded anschauen sollte. Im Nachhinein betrachtet ist es jedoch kein so großer Unterschied zu Teil eins. Es ist nur so, dass die Partyzeit am Anfang noch so unorganisch wirkt. Vor allem, wenn man bedenkt, dass die Beziehung von Nea und Trinity wie einem Märchen entsprungen wirkt.
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The rating applies to the entire trilogy. Regardless of whether the Wachowskis had planned only one film or the entire saga, the resulting triptych is incredibly complex and brilliant. Even though Reloaded has several parts that pissed me off (the beginning in Sion, the way the characters figure out what to do next, Neo as cool Superman), the shift from the first part is so radical that the quality bar didn’t drop too much. Technically, it’s just as awesome, but content-wise it’s somewhere else. How you’ll relate to Reloaded it’s entirely up to you, either you will accept that shift or you won’t, and the film says that very subtly several times – have you you decided – now it’s only up to understand that decision.
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Once in a while I watch The Matrix: Reloaded because it still has power, even two decades later, but it's always missing something – and I can never describe exactly what it is. Maybe it's the magic of something new, or a certain innocence that works in the first film even after multiple viewings. Here the biggest problem is shared by the dark and overcomplicated Matrix Revolutions, which, at least as I perceive it, only shares a bond between the main duo and the action side. There are unfinished ideas, precise action scenes (often just to have some action present), clumsy dialogue, aging special effects, or the overly dramatic and now truly idiotic interlude with the Merovingian. Surprisingly, even after all this time, I still insist on what I said about the film back in 2003. If the second and third installments were one whole, if unnecessary philosophy and excessive fighting with machines were omitted, or if the path to the source material had ended as it should have, this could have been a cohesive, more optimistic, and overall better story.
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If you are willing to endure tons of logical and illogical wannabe profound nonsense, you can expect a fairly solid film that offers a lot, especially in terms of visuals. Excellent action, where, in my opinion, there is practically no blood, but I can accept this fact comfortably given the exceptional style of the film. The shooting scenes are fantastically filmed (something similar can perhaps only be done by Michael Bay and Michael Mann), and last but not least, the fantastic sound and music mix deserves praised. The screenplay is relatively solid and the performances are quite decent for action sci-fi. At times I was bothered by the excessive amount of visual effects (the fight with Smith, the ending), but that can be overlooked. Stylish and innovative entertainment.
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When the Wachowski duo put together the first Matrix, their main motivation was to bring the visual forms of Eastern anime and fighting movies into a feature-length whole and a different setting. Thus, they had to create a script that would be able to incorporate all the elements of these films in a meaningful way into a Western pop culture setting. In so doing, they allowed an alternative computer world to emerge, within which time and space can be bent in every possible way to create a new perception of familiar situations for the viewer. The first Matrix was released at exactly the right time. At the end of the static period of the "end of history", when the workings of the world's systems seemed unthinkable, the rigid organizations of the powerful unbreakable, and the only thing moving forward was computing, creating a brand new communications environment as an alternative to that unchanging real environment. Thus, the original film succeeded not only because of a well-written script, a well-delivered macrocosm, or a rewriting of genre conventions, but also because it came at the best possible time. Had it been made in 1994, when it was written, it's possible that it would have been nothing more than a Strange Days-type underground cult today. ________ This soaring introduction is necessary for understanding why The Matrix Reloaded looks the way it does, and why it also features a completely unbelievably cretinous parody of a script. It's no use obscuring the fact that after the monumental success of the original Matrix, the Wachowskis started to think quite highly of themselves. And no wonder. Listening to the mouth-to-mouth odes from all quarters about what visionaries, philosophers, and mouthpieces of your generation you are would influence even the most impenetrable solipsist. When this sense of self-aggrandizement meets unlimited creative resources, The Matrix Reloaded is the most glaring example of completely understandable... uh, huh huh.... causality. The Wachowskis continued to insist on creating a never-before-seen visual spectacle while at the same time creating a massive philosophical work that would suck in all schools of thought and religion like a sponge and place them in different contexts. From a screenwriting point of view, then, it's a total disaster. The film consists almost entirely of monologues, which mostly try very clumsily to pass as dialogue. Whereas these only serve to take the film from one visual episode to another. The result often seems to be that one character meets another character who has some information needed to move the plot along. First, however, there must be a virtually uninterrupted lecture on some aspect of the Matrix universe. After that, in two sentences, the character learns what must happen in order for the plot to move forward. With the monologue scenes themselves spanning the quality spectrum – from the amazing anti-climax of The Architect, where I devoured every word, to the mind-numbing wtf scenes with Persephone, maybe written by a child. ________ The problem with Zion: the Matrix shits completely in its own mouth with the Zion scenes, because its strength thus far has been in young disconnected malcontents hacking into an artificial, machine-controlled world to destroy it from within and free the people connected to it. Suddenly, though, we find ourselves in a situation where the "free people" are actually the old world who care about nothing less than guarding their threshing floors from their enemies, while everyone there lives in some industrial paraphrase of suburban houses, goes shopping, and still looks terribly bourgeois thanks to the fact that they're all sporting threads from Sanu Babu. I guess I get the design idea, where in the last gasp of humanity at the Earth's core, everyone is dressed in tribalism and Africanism, but there's nothing to be done, it looks really, really incredibly idiotic. About as idiotic as a normal Zion press conference ending with a rave between lava pools (sic!). Which, by the way, Trinity dressed up so nicely for only to have Neo bring her home again immediately after her arrival, where he did her missionary style, prematurely ejaculated, and cried while doing it. Anyway, at least the elaboration of the Morpheus myth, where this infallible mentor of the first installment pays in the second installment like Zion's answer to Jaroslav Dušek, where while everyone is counting guns before the invasion, he's gotten some myth about the Chosen One out of a crossword puzzle he keeps annoying everyone with, is quite amusing. ________ Last item: the spectacle. The Wachowskis were absolutely obsessed with the idea of coming up with something never before seen in the movies for the second installment. They not only had at their backs the shadow of the effects innovation of the second installment but they also couldn't ignore the rapid technical advancement that LOTR had overcome audiences with. At the same time, they had themselves fallen under the spell of the very rapidly advancing CGI possibilities, where what was utterly unthinkable three years ago was now just about render speed. In this blank-check special effects euphoria, where the only limit was not to do anything that had already been done, they created sequences that, while truly unparalleled in terms of choreography, imagination, and framing, showed how terribly fast and comically digital technology can get old. When you’re watching a film today (2021) where digital characters fight who seem graphically stuck in a 2010 video game, and the film isn't afraid to shoot them in full light and enormous slow motion (!), you almost wonder if a pre-production rip of the film has made its way to you. What’s more, the film otherwise suffers quite a bit from a certain general "sloppiness", with me spotting the film crew several times in all sorts of reflections (those glasses are a plague, sure), the digital characters occasionally blurring textures (the virtual Smith suffers quite a lot from this, his hair falling through the collar of his shirt at the back of his neck, that would be the first thing I'd yell at the Architect in the Q&A if I were Neo), and I was downright annoyed when the film's spotlight shone completely openly on the characters in two scenes.
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(weniger)
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It's incredibly easy to criticize this film, especially when compared to the first one. It's extremely blockbuster-like and almost mainstream, and its stylization may not appeal to everyone. In my opinion, it should be evaluated together with the second film because they don't make sense without each other. The first film can stand alone; the series could have ended with it. However, the second film needs Revolutions. I am satisfied with the result. The only thing that annoys me is the nonsensical philosophizing, which reaches its peak in the third installment.
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