Delano Herald Journal

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Jerry Ford Movie Reviews, 5/26/03



There’s something about sequels. Actually, there’s several
“somethings” about a sequel such as “The Matrix Reloaded,”
and I’d like to point out just a few.

First off, as is the case with so many sci-fi/fantasy sequels
(“Lord of the Rings,” “Star Wars”), if you didn’t see
the first, you probably won’t understand the second.

With this film, the effect is compounded by the fact that
a lot of people didn’t understand the first one (“Which reality was
real?”).

But, to counter this, “The Matrix Reloaded” uses
that tried and true Hollywood devise: dazzle them with fights, chase scenes
and effects so they won’t care about the story.

And these fights are spectacular, designed by Yuen Wo Ping,
the martial arts fight choreographer who proved himself in “Crouching
Tiger, Hidden Dragon.”

There’s a freeway chase scene that should make Schwarzenegger
drool (They built their own freeway, with overpasses and everything, in
Australia just for this 14-minute sequence). And the special effects are
almost overwhelming.

Secondly ­ and closely related ­ If you didn’t
like the first movie, I can guarantee you won’t like the second one. If
all that violence, action, and special effects stuff is not your cup of
tea, see a different film.

In the pre-release promotions, it was touted that “Reloaded”
had many times the number of special effects as the first film. That was
an underestimate.

The original “Matrix” introduced the groundbreaking
filming technique, “Bullet Time” ­ that often-copied stop-action,
slo-motion/fast-motion 3D effect that set the bar so much higher for all
sci-fi and action films to follow. Each of those shots takes many hours
and dollars in pre-production, shooting and post-production.

When I saw how many were in “Reloaded,” I was
impressed that ifttook only four years.

I used “The Matrix” as the keynote science fiction
movie in my college film appreciation classes for several semesters. I kept
hoping for a new, better film in the genre, since I lectured that the criteria
for next greatest sci-fi movie was that it had to outdo the special effects
of previous one, and still tell a good story.

After “2001 A Space Odyssey,” then came “Star
Wars,” etc. None appeared that topped “The Matrix.” If I
were still teaching those classes, I’d go to “The Matrix Reloaded”
– for it certainly tops the effects and spectacle ­ but I’d require
students to see the first one.

Thirdly, if you didn’t like the complex, mythological,
metaphysical, mindbending story concept of the first film, here’s a tip
if you go to “Reloaded”: when you see a cryptically named character
(Morpheus, The Oracle, The Architect) start into a monologue, go get more
popcorn.

I, personally, liked the thinly veiled Christian framework
of “The Matrix.”

Directors Andy and Larry Wochowski, who also wrote the
screenplays, know what George Lucas knew when he made the first “Star
Wars” ­ what all good storytellers know: there are no new stories.

So, if you want to tell a successful story, tell one that
has worked in the past and throw in your own twists.

Lucas retold the Evil-Father-Versus-the-Good-Son myth from
ancient cultures. The Brothers Wachowski chose the Messiah story, but there’s
a lot of Eastern mysticism in there as well.

Here’s a little test to see if you’ll like the story.

My favorite Zen joke goes, “Did you hear the one about
the Zen Master who asked the hot dog vendor to make him one with everything?”

The Wachowski’s know their science fiction lineage as well.
There was a film back in 1927 that set the mold for all serious sci-fi to
come.

Fritz Lang’s “Metropolis” was the “Matrix”
of the late silent era. Several of his themes find their way into “The
Matrix”: the utopian city secretly run by sinister machines; the revolt
of the oppressed underdog; mankind being controlled by the very machines
we built; the chosen one who descends into the underworld (more mythology).

“Metropolis” is still Lang’s masterpiece, even
though he made movies until 1960, and it’s well worth finding a copy to
see where so much of our current sci-fi came from.

My fourth point about sci-fi/fantasy sequels: the middle
film bears the burden of being, well . . . in the middle.

It’s stuck between the beginning and the end. Not only
do you need the exposition of the first film to understand the second, the
the second doesn’t really end in any kind of satisfying way.

“Reloaded” throws a pretty heavy plot twist at
us right before the end, and then jump cuts to “To Be Concluded.”

Fortunately, the final installment has already been shot
and releases in November.

There’s a sequel to that Zen joke, too.

The hot dog vendor made one with everything and handed
it to the Zen Master, who handed the vendor a $20 bill.

The vendor put the bill in the cash register and turned
away. So the Zen Master said, “Hey, where’s my change?” The hot
dog vendor replied, “Change comes from within.”

Rated R for sci-fi violence (were these “real”
people dying, or “virtual” people?) and some sexuality (considerably
more than the first film).

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