“The Matrix” (1999)

The Matrix

Grade: A-

No movie combines action and sci-fi quite like The Matrix, and even though the film’s formula ends up leaning more toward the former, it has rightfully defined 21st-century science-fiction.

Directing:

Everything about The Matrix’s singular visual style is cool in a detached, turn-of-the-century, postmodern kind of way: sexy leather cyberpunk, over-the-top kung-fu, military-grade ultraviolence – even the oppressive, computerized, green tint is alluring. The unlikely combo works, and the Wachowski twins create one hell of an alt-pop action spectacle.

Acting:

The unemotional dystopic setting suits Keanu Reeves perfectly, as does the reluctant hero trope: better for him as an actor to be humbly confused than overly confident. Complementing him are Lawrence Fishburne as the stoic mentor and Carrie-Anne Moss as the sexiest sci-fi girl of the ‘90s: if it’s badass hackers the Wachowskis want, it’s badass hackers the actors will deliver.

Writing:

The Matrix moves at a fast pace, never a dull moment thanks to the nonstop stylish action — even during the exposition sequences. And although I wish the story would delve deeper into its heady themes, the sci-fi worldbuilding and subsequent hero’s journey is easy to understand and appreciate for the deceptively shallow story that it is.

Music:

Don Davis’ orchestral score — which also features synthesizers, industrial sound effects and the occasional big-beat breakdown — is a great musical match for the storyline and its visuals. Case in point #1: those scary robot spiders that burrow in your abdomen are even more terrifying when accompanied by the crawling Penderecki tone clusters. Case in point #2: the slow-motion gun-fu would be cheesy if not for the propulsive electronic rhythms.

Ending (SPOILERS):

When you accept that The Matrix becomes a full-on action movie by its final act, leaving its thought-provoking “what is reality?” questions by the wayside, then it’s easier to enjoy the climactic showdown’s spectacular thrills. Neo (Reeves) and Trinity (Moss) vs. the Agent (Hugo Weaving) and his goons is simply a very explosive, very fun fight sequence.

But it’s not really the mind-blowing intellectual payoff promised during the film’s earlier scenes. In the end, The Matrix keeps its existential philosophies at a surface level. Neo’s destiny is to rewrite the simulation’s source code rather than save the entire human race — controlling the shadows instead of freeing the cave-dwellers from their shackles. The finale is underwhelming despite the exciting visuals, making the film’s revolutionary ambitions ring somewhat hollow.

“I’m trying to free your mind, Neo. But I can only show you the door. You’re the one that has to walk through it.” — Morpheus

Why The Matrix gets an A-

Thinking man’s sci-fi that is really a big dumb action movie at heart, like Verhoeven’s Robocop (1987) and Total Recall (1990).

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