‘The Matrix Resurrections’ wears its nostalgia on its sleeve — but the meta-references, winks, and nods are layered with deeper meaning. K. Austin Collins reviews the long-awaited sequel
alone, yet the juice — familiar from the siblings’ collaborative projects — remains that peculiar genius for mixing the sentimental and obvious with the subliminal, the hypersymbolic with the just-out-of-reach. And the central accomplishment ofopens with a gambit that should feel a little more tiresome.
” — and then doubled, tripled, quadrupled-down on that knowledge with a nesting-doll nimbleness, a sense of humor about itself and about the fact of sequels, about our cynicism toward their utter non-necessity beyond making more money., as in Craven’s movie, Lana Wachowski doubles down and, similarly, wins us over with a pointed sense of intention. But the intention, here, is more of a mixed bag of sentiment. I’ll leave the finer details of the story to the movie.
I’ll give this much away: Abdul-Mateen plays a character named Morpheus, and very early on, the actor — who seems to be having the time of his life — playfully nods to Fishburne’s classic performance before setting up the entire movie to concede that there’s no neat return to the once-was. Time has passed. People have changed. Even Thomas Anderson.
In another, lesser movie, much of this would be easier to write off as fan service. I doubt either Wachowski is above that; their fans, even the fans who’ve misused their ideas, are crucial to the way their work has been sustained in the mainstream over time. But one of the wonderful turns ofis how thoughtfully it interrogates these bits of return.
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