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After all this time, what does the blockbuster have left to offer?
At its platonic ideal, a big-budget, mass-marketed movie induces pleasure.
Bombast and awe on all fronts.
A universe in which imagination has curdled into what can most easily be bought and sold.
Wachowski builds on what of the greatest and most singular aspects of the original trilogy: its queerness.
Playing with ideas of memory and nostalgia could have ledResurrectionsto have a self-satisfied, airless quality.
Instead, it feels emotionally expansive and intellectually sly.
(Nothing comforts anxiety like a little nostalgia, Yahya Abdul-Mateen IIs Morpheus says.
Is it trans rights and politics?
Is it capitalist exploitation?
The scene has a rhythmic dexterity, as the developers volley forth opinion after opinion.
Its poised to be hilarious, and it is.
Is he losing his mind or is the Matrix he supposedly created something more than a game?
But when it does, its sublime.
Neo never truly believed in himself as the One, but Trinity did.
How can he be what everyone believes him to be without her?
The sets are littered once again with mirrors that glisten with thematic resonance.
That joy emanates through the cast.
Harriss naturally haughty, self-satisfied miasma works perfectly.
Jessica Henwick exudes hope, grounding the unexpected coalition that pins the movie together.
Its along the arc of Neo and Trinitys romance thatResurrectionsseparates itself from its recent blockbuster brethren.
