TBT: The Matrix (1999)

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This entry is probably going to throw some people off, as I am indeed including it during my search for the love affairs that have impacted me most in my very limited movie-watching career. I’ll admit this one isn’t a very obvious choice. Sure, it’s a technologically-driven action/fantasy epic but to overlook the far more fundamental driving force is to essentially ignore that which makes the Wachowski’s best film(s) a truly complete legacy. I absolutely cannot get enough of this, or its sequels. (Yes, I am a supporter to the bitter end!)

Today’s food for thought: The Matrix.

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Following the white rabbit since: March 31, 1999

[DVD]

When Trinity finally admitted her true feelings for Neo and went in for the kiss just as the Sentinels were tearing apart the Nebuchadnezzar, the hairs on my arms stood straight up. Not really, but they might as well have. It was a moment of great peace and calm, one of an elite few that confessed the true depth of the Wachowski’s vision of a future where our world would be overtaken by artificial intelligence, thereby laying waste to the vast majority of human life. This wasn’t just a kiss.

Everyone remembers The Matrix for the bullet-dodging and the gothic dress code. Perhaps as the saga sprawled out into Reloaded and concluded with a bang in Revolutions there were fewer iconic scenes to latch on to, and more common were ones of convoluted theory and the development of additional, arguably less interesting characters and subplots. I can’t sit here and say that my love for the trilogy was (or is) equally distributed; the original finds security in my top ten favorite films of all time — a potent concoction of visionary direction, commitment from a cast that will never be this cool again, and incredible martial arts/fight sequences that countless films since have gone to great lengths to try and duplicate. (Oh, hi John Wick.)

What’s less talked about, and this I can’t help but blame on the film’s tremendous visual appeal and high-brow concept, is the powerful love story anchoring Neo to a world he once was dangerously oblivious to. But in The Matrix you won’t find another case of meet-cute; it’s more like meet. . .badass. In an underground dance club bathed in only the purest of dystopian light a jet-black-haired woman named Trinity informed him of his importance. Despite appearances the introduction was anything but secretive, for there existed another world entirely — the last human city on Earth — whose fate hinged upon whether or not Thomas Anderson would trust this mysterious woman.

Worlds collided. The computer hacker’s forced to confront a reality (well, I guess he could have taken the blue pill) that would make the hardiest of men sick to their stomach. Humankind being harvested as an energy source for the continuation of Machinekind. The Matrix, of course, had little time for sappy romance; that stuff was saved for Reloaded in a spectacularly choreographed celebratory scene in the aforementioned subterranean city of Zion.

Neo and Trinity form a bond late in the first film, a unity of lips that would quite possibly seal the fate for both man and machine alike. Part of the adrenaline rush of The Matrix is watching Neo gain his powers, slowly coming into an acceptance that he is The One, a title that has since been parodied over and again. (Keanu, take those as compliments.) But if The One can stop bullets under his own strength, what could he accomplish with Trinity at his back? Hers was not the same kind of belief Morpheus stubbornly clung to for most of the film before having it temporarily, if not convincingly, wrenched from his soul. With Trinity there was never any doubt, though Carrie Anne Moss’ enviable performance brilliantly subverted a passion that would much later become quite apparent.

One of the greatest things about this romance is that the word itself doesn’t aptly describe the emotions that propel both Neo and Trinity. They are an indisputable romantic couple, again in reference to The Matrix: Reloaded and in the final devastating chapter — the most romantic thing Neo probably ever did for Trinity was remove a bullet from her abdomen with his bare hand — but the love angle is downplayed to fit the desperate times and the enormously high stakes surrounding the discovery of The One. If you are looking at The Matrix and The Matrix alone, this is tough love. I’m not sure if there’s a better way to illustrate this than when Trinity pulls rank after Neo says it’s not a good idea for her to follow him back into the matrix to save a captured Morpheus. She’s every bit Neo’s intellectual and physical equal, even if she couldn’t quite bring it upon herself to take on Agent Smith even at the most opportune of times.

“What is he doing?” “He’s beginning to believe.” The moment was anything but an epiphany. The kiss was anything but a simple act.

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5-0Recommendation: We’ve all seen this one by now, so recommending this one seems, again, unnecessary. The Matrix represents one of the most uncompromising and unique visions of the future we have ever been handed on a silver screen. Hard to believe this film debuted 16 years ago this March. There are too many interesting things going on in this film to count, but of the many things I could talk about, I find the relationship between Neo and Trinity one of the most fascinating and also one of the most rewarding. Fans of the film(s), would you agree?

Rated: R

Running Time: 136 mins.

TBTrivia: The filming of the helicopter scene where they rescue Morpheus nearly caused the film to be shutdown because they flew the helicopter through restricted Sydney airspace. Laws in the state of New South Wales in Australia were changed to allow the film to proceed.

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.coroflot.com; http://www.imdb.com 

Ride Along

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Release: Friday, January 17, 2014

[Theater]

It’s official. Kevin Hart is the black Chris Farley. Er, well. . .he’s certainly trying.

His new comedy vehicle sees him performing at a spasmodic level not seen since cocaine was readily available in the 80s. I mean, damn dude, someone give this guy a beta blocker before he strokes out! Bless his little fast-beating heart, he is more than welcome to try and imitate the great SNL star, just as long as he makes a promise to not go out in the same way as Farley. . .

The jokester, standing all of five-foot-four, is a storm of energy and quick wit in Ride Along, and while the laughs he extracts from audiences may not quite approach the painful levels of his Philadelphian peers like Dave Chapelle or Eddie Murphy, he turns this incredibly bland buddy-cop adventure into an enjoyable piece of popcorn entertainment. There’s not much to chatter about excitedly afterwards, yet for the lack of creativity on display there’s no harm done in the process. Unless, of course, you take exception to the mental images of Kevin Hart and his black hammer. Ew.

Ben (Hart) is waiting for the right moment to ask James (Ice Cube) for his blessing in taking his sister’s hand in marriage. The two haven’t exactly been getting along ever since Ben apparently damn near barbecued his potential brother-in-law alive at a family gathering awhile back. But because he failed to melt Ice Cube’s cold heart over a charcoal grill, Ben sets out on a mission to prove himself worthy of James’ respect. So he enrolls in the Atlanta police academy, with the goal of becoming a lieutenant on his horizon.

Oh man, can you imagine?

One thing that actually isn’t difficult to imagine is the fact that the camera gravitates toward Hart for most of the duration, despite some other big names present as well, such as Laurence Fishburne, John Leguizamo, Bruce McGill and, yes, the aforementioned Barbershop star. Because James reluctantly agrees to take this obnoxious motor-mouth on a “ride along” with him, Ben finds all sorts of ways to become an obstacle more than a useful partner, and more importantly, a man worthy of Angela (Tika Sumpter)’s love. James is attempting to track down the whereabouts of a notorious criminal named Omar (Fishburne), much to the annoyance of his superior, Lt. Brooks (McGill), who doesn’t approve of this hot-shot officer’s renegade tactics. Wherever these two go, the camera can’t help but get stuck on Hart’s frenetic energy and perpetually rubberized facial expressions.

However, when it moves away from Hart and reveals other bits and pieces of this loosely-assembled plot, the problems stack up quicker than Hart’s feathery frame getting blown sideways against a wall at the firing range.

Ride Along simply insists on being a very brainless exercise as director Tim Story seems comfortable with his usual formula (you need not know much more than the fact he directed Fantastic Four and Think Like a Man to realize he’s a pretty uninspired filmmaker). In this case, he maps out the Atlanta area in a simplistic blueprint, leading us by the hand from point A to point B, tossing in jokes wherever and whenever possible. As it so happens, this is arguably the only fault in Hart’s presence: at times he gets a bit irritating with the sheer number of his faux-Farley freakouts. The supporting roles barely are worth mentioning, although it is quite chuckle-worthy to see Morpheus talking all gangsta-like in his role as the big baddie.

Despite the film’s underachieving status, extra points are still going to be awarded here because Ride Along makes the best of the chemistry between Ice Cube and the world’s funniest short man. If that’s not enough for you to call shotgun on this joy ride, then. . .well, you can just ride in the backseat. Party pooper.

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Legit gamer.

2-5Recommendation: Ride Along fails and it doesn’t. The audience it plays up to should be perfectly satisfied with the results — as evidenced by the drastic difference between critical and audience reviews on the big aggregate sites like RT and IMDb. Feel free to select this one if you’re keen on shutting down your brain, stuffing some popcorn down the hatch and laughing like a hyena at a few scenes featuring Hart doing his thing. Oh yeah, and there’s just a killer hot girl in it. The damsel in distress thing should really draw in a crowd. Boom.

Rated: PG-13

Running Time: 100 mins.

Quoted: “Thank you, ass-face.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com