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Discussion Starter · #4 ·
That was the first time I had ever heard White Rabbit by Jefferson Airplane. I read a bit about the song and listened to the original. Someone made a good decision to use that song while "adapting" the second half as a transition into the Matrix theme because it works really well! As effective as generic trailer music can be, a little bit of extra thought and imagination can go a long way too. I hope it's a good movie. :)
 

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I'm a huge fan of the first movie, hated the second and third parts with a fiery passion and then luckily the trauma of having viewed them was eased with selective amnesia ;)

I love the look of this trailer, but it's going to very, very hard to see how they can recover from the point they left the last trilogy with the same characters...
 

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Discussion Starter · #6 ·
I'm a huge fan of the first movie, hated the second and third parts with a fiery passion and then luckily the trauma of having viewed them was eased with selective amnesia ;)

I love the look of this trailer, but it's going to be very, very hard to see how they can recover from the point they left the last trilogy with the same characters...
You are not the first person to share that sentiment for the 2nd and 3rd movies.
I know nothing, but it seems like it would be really hard to make a trailer look that good for a terrible movie. There is plenty of symbolism in the trailer to suggest how "things" might be different or the same in this movie compared to the others. If that attention to detail is put in the trailer, I imagine the plot was not neglected. That does not mean I'm right though. ;)
 

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That was the first time I had ever heard White Rabbit by Jefferson Airplane.
😲😲😲😲😲 I'm shocked! Definitely an odd song... and I'm really not a fan of the hippy trippy type of music, but I figured everyone had heard that song multiple times. Even if it was in the supermarket or an elevator... like Hotel California, lol!
 

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It was terrible lol is almost is lana wachowski used this movie to criticize hollywood. The same boring old ending of flying lol and smith he helped and then he vanished and neo spent the whole time with his hands stopping stuff lol action parts were decent but the story itself was boring
 

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I'm not sure how I feel about it. There were parts where I was feeling the vibe and others not so much, I don't know. In terms of looks and production, it's fine, and computer generated stuff has come far since the original films.

In general, I'm kinda wary of remakes (like the live action Cowboy Bebop, which I haven't seen) and expansions of original successful things (trying to make the Hobbit as long as LotR, ugh) as it seems to be part of the whole idea of eliminating risk present in so many facets of life these days, whether it's economics, music (same committees of writers writing the same chord sequence over and over with a different autotuned vocalist) or here, film. I guess that's what happens when committees holding purse strings make the decisions. It stifles creativity and originality, which is kinda the point of art. You cannot instrumentalize it according to a formula (or equation ;)) and expect it have a life and something people connect with. When an original work is successful, part of it is because it shows us something that is unexpected/surprising and is presented in such a way that evokes resonance in us.

Another example - ancient Greek tragedy as a successful form of adaptation. The stories adapted by the playwrights were part of the mental furniture of the culture, everyone across the Greek speaking world knew them. Certain (though not all) narrative conventions were established about them by the 5th century BC, yet the playwrights still managed to dramatize them in such a way that is powerful, surprising and original, such that we regard some of the plays as defining versions of the story, like we think of Hendrix' version of 'All Along the Watchtower' as the one, as opposed to Dylan's.

This is why the Animatrix short films are well thought of - they took on the existing lore, played with the format, looked at different points of time and perspective, not trying to do everything.
 

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Discussion Starter · #13 ·
I'm not sure how I feel about it. There were parts where I was feeling the vibe and others not so much, I don't know. In terms of looks and production, it's fine, and computer generated stuff has come far since the original films.

In general, I'm kinda wary of remakes (like the live action Cowboy Bebop, which I haven't seen) and expansions of original successful things (trying to make the Hobbit as long as LotR, ugh) as it seems to be part of the whole idea of eliminating risk present in so many facets of life these days, whether it's economics, music (same committees of writers writing the same chord sequence over and over with a different autotuned vocalist) or here, film. I guess that's what happens when committees holding purse strings make the decisions. It stifles creativity and originality, which is kinda the point of art. You cannot instrumentalize it according to a formula (or equation ;)) and expect it have a life and something people connect with. When an original work is successful, part of it is because it shows us something that is unexpected/surprising and is presented in such a way that evokes resonance in us.

Another example - ancient Greek tragedy as a successful form of adaptation. The stories adapted by the playwrights were part of the mental furniture of the culture, everyone across the Greek speaking world knew them. Certain (though not all) narrative conventions were established about them by the 5th century BC, yet the playwrights still managed to dramatize them in such a way that is powerful, surprising and original, such that we regard some of the plays as defining versions of the story, like we think of Hendrix' version of 'All Along the Watchtower' as the one, as opposed to Dylan's.

This is why the Animatrix short films are well thought of - they took on the existing lore, played with the format, looked at different points of time and perspective, not trying to do everything.
The movie introduced ideas that never would have occurred to me. The idea of a machine civil war (it was quickly mentioned and barely shown) was not on my radar, but the way it's explained makes sense within the context of the movie. Warner Bros' willingness to be demonized in a movie they are paying for seems unusual to me as well.

As for risk, I actually think the 3 major record labels (Sony, Universal, Warner) have eliminated nearly all risk. Streaming services like Spotify, Apple Music, Amazon, YouTube/Google, etc. license music from the same "pot of music" created by these 3 record labels. Things get complicated because all of these companies own each other, but nearly all of the music is coming from the same "pot" so if you own part of that "pot" you are in good shape with little incentive to "try something new."
 

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The movie introduced ideas that never would have occurred to me. The idea of a machine civil war (it was quickly mentioned and barely shown) was not on my radar, but the way it's explained makes sense within the context of the movie. Warner Bros' willingness to be demonized in a movie they are paying for seems unusual to me as well.

As for risk, I actually think the 3 major record labels (Sony, Universal, Warner) have eliminated nearly all risk. Streaming services like Spotify, Apple Music, Amazon, YouTube/Google, etc. license music from the same "pot of music" created by these 3 record labels. Things get complicated because all of these companies own each other, but nearly all of the music is coming from the same "pot" so if you own part of that "pot" you are in good shape with little incentive to "try something new."
Indeed, there are interesting tidbits which are undeveloped, in this film at any rate (there will surely be sequels, per usual modus operandi in the industry). This one you mention seems kinda important and makes the overall story more interesting, as the main divide in the series' antagonism now has greying edges, rather than the conflict being clear cut, as it seemed to be in the original films. Though there were various figures from the Matrix itself sympathetic to the human cause in those, they might be contextualized in the ongoing evolution of the Matrix's algorithms, where mk. I, being made to be perfect, ended up a failure, per Smith's speech to Morpheus. Yet, the new film mostly focused on the reunification of lost loves and picking things up where they left off, which is fine I guess, but pretty well trodden ground. Well well, let's see what happens next.

Yeah. In truth, I have no idea to what extent this is perceived as a problem from the consumer's end; the circle of people I know and talk about these things with are quite discriminating when it comes to originality in art forms etc., so my perspective is skewed.
 

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I went with the family to watch it last week. I'm a huge fan of the original, the subsequent sequels, as we know, left many feeling a little short-changed. Well, the third especially. The fourth I quite enjoyed, as did my partner, who is not a Matrix aficionado. She only just watched them with me recently, due to the new one coming out. She'd previously maybe only watched the first.

The first act was extremely clever, playing with the whole culture around the Matrix, copycat films, using "Bullet Time", and the great dig at the entertainment industry, and it's willingness to re-hash old properties to make a quick buck. Never mind the resurrection of sorts for Morpheus.

The middle third was a little tedious, and got a little lost in the same way that the second and third films did, with the not so well conceptualised explanations of what had happened with the world since the end of the third film.

The final act eventually got kicking, and the twists were actually really cool. Once again another great commentary on society. I won't go into it as a way of avoiding too many spoilers, but I think the tediousness of the middle act, along with some missing the point of the themes introduced in the final act is why many aren't enjoying it. My partner was in tears with how cool the film turned out. Someone who wasn't a huge Matrix fan completely getting what the end was about, and really digging it.
 

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Discussion Starter · #16 ·
I went with the family to watch it last week. I'm a huge fan of the original, the subsequent sequels, as we know, left many feeling a little short-changed. Well, the third especially. The fourth I quite enjoyed, as did my partner, who is not a Matrix aficionado. She only just watched them with me recently, due to the new one coming out. She'd previously maybe only watched the first.

The first act was extremely clever, playing with the whole culture around the Matrix, copycat films, using "Bullet Time", and the great dig at the entertainment industry, and it's willingness to re-hash old properties to make a quick buck. Never mind the resurrection of sorts for Morpheus.

The middle third was a little tedious, and got a little lost in the same way that the second and third films did, with the not so well conceptualised explanations of what had happened with the world since the end of the third film.

The final act eventually got kicking, and the twists were actually really cool. Once again another great commentary on society. I won't go into it as a way of avoiding too many spoilers, but I think the tediousness of the middle act, along with some missing the point of the themes introduced in the final act is why many aren't enjoying it. My partner was in tears with how cool the film turned out. Someone who wasn't a huge Matrix fan completely getting what the end was about, and really digging it.
I think your assessment is pretty accurate. Lana Wachowski said in an interview it wasn't a complicated movie; it was a love story. While I agree it was a love story, I can't say it was a simple movie.
 
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