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:: The Matrix Revolutions

If you were waiting for the final instalment of the Matrix trilogy to clarify the jumbled mess that was Matrix Reloaded, you will be sorely disappointed. Revolutions is, if possible, even more oblique and nonsensical than its predecessor.

It begins where Reloaded ended without preamble, so if you’ve managed to forget most of what happened previously, you’ll have to spend a little time catching up. Neo is in a coma, and a spy is in their midst. The bad guys are coming and the Oracle is being played by someone else due to the unfortunate demise of Gloria Foster. But her new appearance is quickly explained away by some half formed techno jargon mixed in with a grab bag of philosophical quotes and Bob’s your uncle – or Mary Alice is your Oracle as the case may be. And it is typical of one of the main problems with these films. The Wachowskis are making it up as they go along. They break the rules of the world they have set up, thereby eroding any sense of stakes or involvement with the characters and their predicament.

There is less pretentious dialogue in this film, but that leaves the characters floundering, trying to recall whatever it was that made them memorable in the first film. What began as a clever, visually exhilarating sci fi that didn’t tread terribly new ground has degenerated into a melange of psycho babble that, from the cast’s wooden performances, not even the actors understand. And forget about trying to decipher the ending. By that stage, it’s hard to even care.

The effects are more polished in Revolutions, without some of the dodgy computer stand ins of the fight sequences in Reloaded, but the fights are generally lacking in impact or pizzazz. There’s nothing new here. Even when Trinity does her much copied mid air, frozen in time leap, it seems like a pale imitation of something that’s come before.

Neo’s romance with Trinity, played by Carrie-Anne Moss is insipid at best. Trinity is no longer the kick-arse heroine, but some dewy, limp love struck puppy that has little to no effect on the plot. The Matrix Revolutions strives for depth but attains only laughable lines like “everything that has a beginning, has an end.” It strives to be epic but has the scope of a video game. It strives to be cool and already feels pass√©. The Wachowski’s need to stop believing their own publicity and start listening to the shuffle of their disappointed fans as they leave the cinema decidedly underwhelmed.

Screening on general release.