Kamera:
Bill PopeMusik:
Don DavisBesetzung:
Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving, Ian Bliss, Collin Chou, Lachy Hulme, Nathaniel Lees, Harry Lennix, Robyn Nevin (mehr)Streaming (6)
Inhalte(1)
Neo. Trinity. Morpheus. Im atemberaubenden letzten Kapitel der Matrix Trilogie stehen sie und die übrigen Helden am Rande von Sieg oder Vernichtung im ultimativen Kampf gegen die Maschinen. Für Neo bedeutet dies, sich weiter zu wagen, als je ein Mensch zuvor - mitten ins Herz der Maschinen Stadt, um sich einem alles entscheidenden Show-Down mit dem übermächtigen und unkontrollierbaren Programm Smith zu stellen. Die Autoren und Regisseure, die Wachowski Brüder, und Produzent Joel Silver sind noch einmal über die faszinierenden visuellen Effekte der ersten beiden Filme hinaus gegangen. Die Revolution beginnt jetzt Matrix Revolutions. (Verleiher-Text)
(mehr)Kritiken (11)
Die Handlung ist greifbarer und sinnvoller, der Film enthält nicht so viele pseudo-philosophische Sprüche und selbstzweckmäßige effektvolle Actionszenen wie Matrix Reloaded. Ich bin zufrieden. Die erste Stunde gähnt man, der "Krieg der Maschinen" ist aber großartig. Wenn in dem finalen digitalen Kampf von Neo und Smith Emotionen gewesen wären, wäre der dritte Teil besser als der zweite. Das Ende des Films entspricht der Pseudo-Tiefe, welche die ganze Saga vorgetäuscht hat. Diejenigen, die gedacht haben, dass etwas Großes dahintersteckt, werden enttäuscht sein. Unvermeidbar enttäuscht. ***1/2
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Schneiden Sie Reloaded und kleben Sie es mit dem Besten aus Revolutions zusammen und siehe da, es wäre ein Film! Dennoch ist Revolutions nach einem ungleichmäßigen und abgehackten Zwischenspiel ein flottes Spektakel, das von der Verrücktheit von Reloaded (ohne in die Tiefe gehen zu müssen) und der visuellen Meisterschaft profitiert, für die Matrix berühmt ist. Es ist schön anzusehen, und das Ende ist wirklich fesselnd, ebenso wie das Fazit der Geschichte. Und ein toller Soundtrack. Was mir an dieser Trilogie besonders gut gefällt, ist, dass es sich nicht nur um eine "Eins", "Zwei" usw. handelt, sondern um ein wirklich konzeptionelles Werk, das als Ganzes ein riesiges potenzielles Universum schafft, das weiter bevölkert werden kann. Darüber hinaus ermöglicht es, das Gehirn einzuschalten und die eigene intertextuelle "Matrix" mit den Klassikern der Weltphilosophie und -literatur zu erstellen. Es mag zu übertriebenen Konstruktionen verleiten, aber Gott sei Dank stellt eine "Massen"-Geschichte so hohe Anforderungen an den Betrachter...
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Aber Ende gut, alles gut. Monica Bellucci zog sich noch einmal um, der junge Komiker küsste noch einmal die Soubrette, dann war alles vorbei. Wer sich für die Welt interessiert, in der die Menschheit unter der Erde lebt, kann mit Cleopatra 2525 weitermachen.
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“Hey Larry, Joel Silver was here.” - “Yeah? And what did the old bastard want?" - “He said he had a lot of money for us if we wanted to shoot another two parts.” - “That’s great, bro! Let’s put something together, then. We have loads of ideas, we can put them all together and something will come out of it.” - “Cool. So, here we put this, and we put this here, here we drop that long dialogue scene, it’s just verbal filler, but who cares, they’ll survive. And, bro, it’s ten minutes long, and you know, ten minutes here, ten minutes there, and we have four hours, two hole films!” - “Yeah, you’re right. And here we could squeeze some sequence inspired by anime, the Japanese love that and they’re the second biggest movie market in the world. We can’t go wrong.” - “Yeah, and some love-story, too.” - “Hey, Andy, those heroic moments wouldn’t hurt and...” Enough with the snark, now I'm going to be dead serious, I'm going to be as serious as the heroes of the Matrix; so serious and lofty that in the wonder of their own loftiness they sound, in the words of Amadeus, as if they shit marble… One way to grasp the Matrix is to search and search for meaning, search for the key to the truth. But it's a bit like dropping the key to my place into a puddle, I’d have to find it because otherwise I wouldn't be able to get into my apartment, but truth be told, digging in a puddle is not very "interesting" fun. Just as much as digging through a pile of verbal ballast and suffering through seriously meant pathetic dialogues that lack a shred of insight. I would so much like to search and find the meaning, but the Wachowskis won't let me because of the form of their narrative. And yet The Matrix Revolutions could have been a great movie. The scene from the subway station, from the "intermediate section", was funny and awesome. Likewise, the ending itself, I'm not afraid to say, was breathtaking! But everything in between? Awful! Pathetic battle scenes cut from the Soviet film Liberation. The Wachowskis proved that I remembered my childhood years, when I went to see shitty Soviet war films for free that were full of pathos of the coarsest grain. “How old are you, kid?” - “Eighteen.” - “Should have said sixteen, I might have believed that.” - “All right, I'm sixteen.” - “The minimum age for the Corp's eighteen. Sixteen's too young.” - “The machines don't care how old I am. They'll kill me just the same.”... This is not a sample from a Soviet war movie, but from this film. The American kid wanted to fight and he accomplished a great thing. No, really some patterns don't change even after fifty years and it doesn't matter the country of origin. But despite these excesses, The Matrix Revolutions is not a stupid movie, although some of the interpretations are ridiculous. For example, the shape-shifting of the Oracle is explained by Matrix advocates as a Merovingian punishment, but the reality is much more prosaic. Gloria Foster, the actress who played the Oracle, died during the filming, so the Wachowskis helped themselves to this pathetic ruse. I have nothing against the concept of the Matrix, but the form, my friends, the form…
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(weniger)
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Rating the entire trilogy. Like in Reloaded, there are moments that really pissed me off, but as a whole it’s amazing, and the climax, when white is reunited with black, can’t be described other than superb, unexpected (though actually inevitable) and incredibly deep… PS: In the great order of things, the Battle of Sion is just eye candy, but that doesn’t alter the fact that it made my jaw drop.
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A sad and undignified ending to the series. Unarguably it has an underlying thought and depth to it (even though sometimes it is a bit of a problem finding it). But as for the rest; the intriguingly developing storyline around the Merovingian and Persephone trails off into nothing. And the amount of clichés in this exceeds anything seen in any other seriously intended movie over the past years. OK, maybe there are more clichés in Pearl Harbor and We Were Soldiers, but at least those movies don’t ride on the philosophical wave typical of the beginning of the twenty-first century. The effects are just for effect and not for the good of the movie. Needlessly long scenes and a completely different approach to the material than in the preceding parts. I have nothing against change, but it just doesn’t work here. It almost looks as if, paradoxically, apart from who plays Persephone, the only significant upside of the movie is the music in the last third. The chorals are surprisingly suitable for this “techno movie". The only flawless area is the audiovisual treat in the form of the final duel between Neo and Smith and it is a great shame about all of the wasted potential here. As excellent as part one was, despite it borrowing a lot of motifs from other movies, and part two was a great relaxing watch, unfortunately part three is nothing better than criminally mediocre.
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The raindrops are still falling, the heroes are still the same, but for us that code has somehow changed. It remains green, but no longer flows smoothly. It stumbles – and instead of a quality storyline, it is teeming with unjustified monologues, unbelievable dialogue, and sadly dysfunctional action scenes. When I think back to the perfection of the first installment, the precisely defined characters, and the unforgettable two hours that can be watched endlessly without losing their magic, it feels unfair that the Lana and Lilly Wachowski have fatally let me down and forever ruined one unforgettable story for me. Morpheus has become just a motivational figure, Niobe herself has no role, regardless of who she rescues, and only the tangible bond between Neo and Trinity gives me a feeling of some vitality. And even the perfect final battle does not repair that tainted impression for me. This program has performed an invalid operation and will be terminated.
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There are fewer stupid dialogues and more proper adrenaline action with a drive that will plaster the viewer to their seats. The Battle for Zion is brilliantly shot, the greenish camera filters and the typical visual style of the Wachowskis are not missing. Don Davis does a flawless job and composes his best musical score. It is difficult to compare Revolutions any deeper with the previous parts, which only served as a support for the final installment. The biggest, the most monstrous and the most ambitious of the entire trilogy. A grand finale as it should be.
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The action is bombastic and, most importantly, the seemingly endless battle with the machines has the makings to enter the company of some of the most iconic scenes. But that script! Compared to the lacklustre second part, it’s considerably sharper, with less bullshit, and subordinates almost everything to the great effect, or rather to the exterior, but it again fails to impress the viewer in any way or with any idea, to squeeze at least a pinch of emotions out of them... I admittedly rode the wave of the spectacular action, but I actually kept waiting and waiting and asking myself what the hell can come out of this? And then suddenly the end came and all I could feel was disappointment. That was supposed to be it? Is this what everyone's so crazy about? After the fantastic first one, the directors must have run out of breath and Reloaded and Revolutions are just a bloated bubble, we can only shake our heads in disbelief. This time, there was no déja vu.
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Revolutions, while retaining most of the ills of the second installment, quite adeptly reduces their intensity. The digital sequences now primarily involve clashes of dirty metal, which is easier to animate and thus doesn't take away from the intensity of the Battle of Zion with mangled CGI. Plus the exoskeletons are really cool. The dialogue here is aware that we're about to close up shop, so it's finally going somewhere. Oh, and the Zion Respect Festival scenes are thankfully pretty strictly limited to war sequences in industrial dock settings. But why five stars? In Revolutions, The Matrix has finally managed to conclude a truly ultimate cyberpunk masterpiece (or rather, esocyberpunk masterpiece) and has stopped dodging the fact that the only options are that reality is nothing or that reality is everything. Codes are reformatted into atoms, minds create matter, all as a result of electrical connections between neural systems. It's all about electricity. The Matrix is actually a bit of an anti-humanist series, telling us how humanity's only goal is to destroy the machines, while the machines' main goal is to adapt to humanity, which makes them undergo more than just one problem, including fatal ones.
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As I mentioned with The Matrix Reloaded, these two films should be evaluated together because they work best as a pair. Yes, at times it's overly commercial, and on the other hand, it's sometimes overly philosophical without the philosophy saying much of anything. One ends up going in circles without anything substantial to grasp onto. But when it comes to the final scene, where Neo is supposed to reach the mainframe and either win or lose, it always grips my heart and gives me chills. Certainly, it didn't fulfill the promise of the first film, but I can't help feeling that, with some distance, I'm not actually that disappointed with it.
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