Matrix Revolutions This work has been published in the Teen Ink monthly print magazine.

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     "Matrix Revolutions" was one of the most anticipated movie events of the year. For months, fans of the action-packed science-fiction trilogy waited anxiously for the final installment. When it hit theaters in November, excitement permeated the air as moviegoers filed in to enjoy 129 minutes of quality filmmaking.

The film is a perfect ending to the Matrix saga. Though it contains the token man-on-man action sequences for which the series is known, it also has elements unseen in previous Matrix films. There are many memorable moments, but it really loads up on somewhat elusive philosophy.

The final scenes of "Revolutions" leave much to the imagination, but are satisfying enough to sate most viewers' curiosity. The movie is truly well done, but received an unusual amount of negative press.

Uncouth critics harshly said the movie lacks plot and is not suspenseful, but it is clear they really just wanted a Hollywood ending where everyone goes home happy. Taking no heed of the film's ground-breaking style, they stubbornly insisted on attacking a film they don't fully understand.

The directors, the Wachowski brothers, took inspiration from several sources, including the classics "Ghost in the Shell" and "Akira." These Japanese movies are quite different from ours. They are set in the medium of anime, a style of Japanese animation, rather than live action, and convey impossibly large-scale stories and hint at exceptionally complex philosophical viewpoints. Also, both films end ambiguously and thus controversially. Critics unfamiliar with this style could easily be confused and disappointed.

With this Eastern style, a movie must be judged in its entirety, not just by its memorable scenes or plot. Each has an underlying theme, not spoken during the movie, that must be interpreted by viewing the entire movie and considering all its aspects, scenes and visual style. Thus it is a complex metaphor, and every scene, though seemingly random, has significance to the underlying idea. A perfect example of this is in the lobby scene of the original "Matrix" where a long action sequence is intermingled with close-up shots of bullet shells falling through space, which are more than reminiscent of "Ghost in the Shell." These sequences have no real meaning in and of themselves, but when considered with the rest of the movie, a previously unconsidered element or tone is added. Emphasis on the discarded shells and their trajectory through space could be interpreted as a metaphor pointing out the temporary crystalline immobility of the shell, transfixed in a single instant halfway through its flight. Because of the lack of a definitive explanation, their intent remains a mystery.

As these elements come together to form the theme of the movie, it becomes a feeling, difficult to describe in words. Elements like these like "The Matrix" and "Akira" classics, regardless of the public's reaction.

Inconceivable amounts of work were put into the making of these movies; camera angles had to be optimized, the philosophy had to be watered down, action sequences had to be carefully planned, and artists had to strive day and night to create the perfect characters and settings.

It could almost be said that the movie has always existed, and it was the job of the directors to capture its soul, and put form to it.

In this way, the Wachowski brothers have tried their hand at making a masterpiece. "The Matrix" was a classic before it was even spawned. The film we have the liberty of seeing today is simply the Wachowski brothers' interpretation of the movie's genesis. Taking an Eastern film style and making it presentable for Western audiences is a task that deserves admiration. It's really a surprise that the movie was successful here at all.

Even the somewhat inconclusive ending of "Revolutions" is well done. In the grand tradition of their predecessors, the Wachowski brothers seem to have mastered the ambiguous ending. All in all, "Matrix Revolutions" is a masterful film, and the perfect ending to the trilogy.

This movie is rated R.

This work has been published in the Teen Ink monthly print magazine. This piece has been published in Teen Ink’s monthly print magazine.






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