Tag: Yahya Abdul-Mateen II

Ranked

RANKED – The Matrix

Post author By Mark
Post date December 30, 2021

Often held up as one of the hallmarks of the sci-fi genre, Lana and Lily Wachowski’s Matrix franchise has a long and complicated past: a universally loved and acclaimed original offering giving way to some of the most divisive sequels in film history; adored and staunchly defended by their fans and reviled by those that didn’t fully gel with the future-looking CGI spectacle. With the series making a long overdue return with Resurrections we thought we’d revisit the world of Neo, Trinity and Morpheus, ranking each instalment from the worst to the (some might say obviously) best. Now pop a red pill and let’s get into it…

5. The Matrix Revolutions (2003)

What should have been the epic franchise’s big finale ends up a bloated mess of a film with Revolutions, largely due to the shift in focus from Neo’s (Keanu Reeves) adventures to the maddeningly uninteresting battle for Zion. In theory, giant mechs going toe to toe with robotic squids sounds like it should be a spectacle for the ages, but after the inventiveness of the scenes within the Matrix the Wachowski’s seem content to rest on their laurels; filling the bland background of Zion with dull, confusing firefights that never seem to end despite the machines obvious dominance. This is also about 80% of the entire two hour runtime and for a final film with as much confusion to wrap up as the Matrix that makes for a frustrating time.

It also means that Neo’s storyline feels extremely rushed, the big cliffhanger of his whereabouts from Reloaded resolved so swiftly it begs the question why it needed to even happen in the first place. The rain soaked showdown between Neo and Smith is entertaining, even if the strobe light effect is borderline seizure inducing, and serves as a satisfying conclusion to such an intense rivalry. But the blinding of Neo and his subsequent transformation into pure light are strange twists to say the least, albeit somewhat expected at this point in the franchise given what the Wachowski’s have shown us. Still, if it means getting away from Zion and back to the Matrix for a few whacky minutes, then bring it on.

4. The Animatrix (2003)

While it may seem like an obvious expansion of the story now, The Animatrix was an unusual concept back in 2003. Give a bunch of Japanese animation studios free reign to create a series of nine short films set within the Matrix universe and see what they come up with (a premise mimicked to brilliant effect with this year’s Star Wars: Visions). The result is a mixture of some of the best storytelling in the franchise since the original film and at its worst, stories that are simply boring. Everything from the origins of the machine uprising to a noir detective story featuring Carrie-Anne Moss’ Trinity is explored and whilst the stories don’t amount to much in terms of furthering the overarching storyline of the main series, they do offer a tantalising glimpse into the Matrix outside of Neo, and all the weird and wonderful places that premise can journey to.

The animation is consistently gorgeous and even in those less interesting stories there is always a positive to be found, whether that be a gorgeous, fully CGI sword-fight scene or the unusually depraved, disgustingly violent sight of a robot ripping a brain from a skull (not positive obviously but tell me how many other animations you’ve seen that have done that). Overall it’s the element of fun and strangeness that makes the Animatrix a success; where the films got lost in an overly serious narrative of choice and chosen ones, these stories are simply able to experiment and have fun with the universe, often finding humour in it and, as the series is known for, producing some truly awesome fight sequences.

3. The Matrix Resurrections (2021)

Almost twenty years after the trilogy ended, this return to the Matrix doesn’t exactly feel necessary, with Lana Wachowski’s scorn for the current state of the entertainment industry overshadowing the actual story being told, but it is a mostly fun return to this world which thankfully doesn’t seem to take itself too seriously. With Neo once again trapped within the Matrix and struggling to tell the real from the programmed, the task falls on a new crew of survivors – led by Jessica Henwick’s Bugs and a reincarnated Morpheus (Yahya Abdul-Mateen II) – to spring the Chosen One from his digital prison and launch a desperate rescue mission to free Trinity.

Wachowski’s commentary quickly grows tiring, but it is her willingness to embrace humour which the franchise had previously avoided that makes Resurrections such an enjoyable ride. The story isn’t as needly complex as the other sequels – essentially boiling down to a series of rescue missions – and this makes for a far more digestible film; we can sit back and watch Neo kick the crap out of the bad guys without worrying whether the choices he is making are affecting some larger, constrictive prophecy. Where it falls short of the rest of the franchise is in the action; the finely choreographed fight scenes of the earlier films replaced by the quick-cut action of the modern blockbusters Wachowski seeks to lampoon. The point is made but a bit of the old kung-fu Neo specifically points out he still knows wouldn’t have gone astray.

2. The Matrix Reloaded (2003)

The first of the sequels makes tremendous leaps both forward and backwards for the franchise. From a technical perspective the Wachowski’s were at the forefront of the early 2000’s push towards CGI, making for some bold, innovative action set-pieces that could not have been previously done. Now, watching these films in 2021 that CGI doesn’t hold up all that well, just look at the video-game looking confrontation between Neo and the endless Agent Smiths (Hugo Weaving), but the Wachowski’s certainly get points for trying. The highway chase sequence however is quite possibly the most highly regarded sequence of all the Matrix sequels and for good reason; it is a genuinely edge of your seat thrill ride that doesn’t take its foot off the gas (see what I did there) for a single second, hokey CGI be damned.

Where the series starts its steady decline is in the story department. There are some seriously huge leaps in storytelling and logic being thrown at the viewer and it all feels so rushed, with new characters and concepts introduced in almost every scene without being properly explained. None of it truly coalesces into anything other than a minor wrinkle in Neo’s journey towards realising his potential as the Chosen One, with a constant “is he or isn’t he” plot line never fooling the audience for a minute and distracting from the already confusing main story. He’s Keanu Reeves, of course he’s the one. This is also the film that introduces the concept of Zion and the franchise’s most dull side-story. For the last remnants of humanity it sure is a visually bland and boring place; hell even the machines get down with some funky strobe lights from time to time. No amount of dance party orgies can make you care about Zion, and Revolutions only serves to further highlight how utterly not compelling that storyline is.

1. The Matrix (1999)

No matter how weird the Wachowski’s took the franchise in an effort to top themselves, the original Matrix remains the best and a defining piece of sci-fi action cinema. The introduction to this dystopian cyberpunk world of chosen heroes and machine uprisings takes its time drip-feeding you the extensive word-building it lays out, taking full advantage of Neo as the audience surrogate rather than the all-powerful Messiah figure he becomes and having fun with his training. The “I know kung-fu” sequence remains a series high-point – a thrilling introduction to the action that would forever change the genre – and the climactic subway fight scene is a spellbindingly tight, spectacularly choreographed edge-of-your-seat sequence that feels gritty and high stakes unlike most of the CGI spectacle that followed.

Indeed this feels like one of the few times the series is ever truly accessible; the narrative is streamlined, the rules of the world are easily understood and you genuinely feel for Reeves’ protagonist, an everyman thrown into the deep end and forced to swim. Carrie-Anne Moss is effortlessly cool in her introduction as Trinity, even if her relationship with Neo doesn’t feel entirely earned and Lawrence Fishburne’s Morpheus is the perfect guide to shepherd us through through the confusion; a comfortably reassuring and suave presence disguising a man desperate for something to believe in. An awe-inspiring introduction to what would become one of the most influential and divisive sci-fi franchises of all time.

Tags Animatrix, Carrie-Anne Moss, Hugo Weaving, Keanu Reeves, Lana Wachowski, Lawrence Fishburne, Lilly Wachowski, The Matrix, The Matrix Reloaded, The Matrix Resurrections, The Matrix revolutions, Yahya Abdul-Mateen II

Movie Reviews

The Matrix Resurrections

Post author By Mark
Post date December 27, 2021

Sequels to long dormant franchises are all the rage these days, but if there was one franchise that was expansive and confusing enough to truly warrant the sequel/reboot treatment it was The Matrix. Well that time is now, with one half of original directing team Lana Wachowski returning to the reality-questioning world of Neo and Trinity with a lot to say about the current landscape of entertainment and how audiences approach it. Whilst that extremely heavy-handed commentary doesn’t work as well as Wachowski thinks, the story that is told is a refreshingly straightforward affair for a franchise that became so bogged down in overly complex world-building. It isn’t a return to the form of that original film but Resurrections is a fun enough, if forgettable trip back into the Matrix.

Now living as the celebrated game designer behind “The Matrix” – a trilogy of video games that adapt the original trilogy of movies – Thomas Anderson (Keanu Reeves) is in a creative rut, forced by management to revisit his seminal franchise to produce “The Matrix 4”. A test run of code for the game opens up Thomas’ world to Bugs (Jessica Henwick) and a program that soon reveals himself to be a reincarnation of Morpheus (Yahya Abdul-Mateen II) questions the reality of Thomas’ situation. When Thomas starts to notice similarities between Tiffany (Carrie-Anne Moss) – a woman he sees at a local coffee shop – and the Trinity character from his game, the world around him begins to unravel, ultimately leading to Morpheus and Bugs once again extracting Thomas from the Matrix into the real world, where the legend of Neo looms large. Once again at war with the machines and a smarter, more deadly version of the Matrix, Neo sets out on a desperate attempt to rescue Trinity from captivity, knowing that only together will they be able to end the war once and for all.

Wachowski clearly has an agenda when it comes to Resurrections, taking aim at the surge of sequels, reboots and spin-offs that took the entertainment industry by storm since her original trilogy was at its height in 2003. To call this commentary on the nose would be an understatement, with the story going extremely meta in name checking Warner Bros as wanting this very sequel as a result of corporate greed. The rare few times where this works is when the film embraces humour in a way the franchise never previously did, with an amusing montage poking fun at every hot-take and analysis piece written about The Matrix. Mostly though, the film takes any chance it can to skewer the trend, even going so far as to having a returning character spit on the very idea of a “sequel franchise spin-off”. Does that character even need to be in the film? Not at all, but that in itself just another layer of ridicule and scorn that Wachowski constantly assaults the viewer with.

Where it loses the viewer is in the incoherence of its message, with Wachowski heavily borrowing elements from these hated reboot/sequels; copying action beats from her earlier films and even going so far as to include a cute, infinitely marketable fist-bumping robot. Is it all just one big joke on the viewer? Much like the world of the Matrix it’s impossible to tell at times, which gives the whole film a rather cold, empty feeling. Is this a genuine attempt to return to a beloved franchise and should we actually care about anything going on or is this just a spoof on what audiences have become accustomed to from blockbuster filmmaking? The very concept of the previous trilogy as nothing more than a blip in the larger narrative, reduced to a simple video-game by the newly developed Matrix, devalues the audience investment to a degree – why should we get excited about what very well could be a new series of films if they can simply be wiped away in the future, fans be damned? Sure you could argue Marvel movies commit a similar sin, cheapening deaths by reviving characters but it seems hard to be believe that Wachowski has such an issue with this that she bastardised her beloved franchise to present what amounts to one big rant about the state of film.

The first half of the film is where this commentary reigns supreme but thankfully this levels out once Neo is removed from the Matrix once again. What makes it so easy to push that cynicism aside and simply enjoy the ride is Keanu Reeves, who plays the unassuming Neo so endearingly earnestly that it is impossible not to root for this everyman once again thrown in way over his head. New franchise recruits Jessica Henwick and Yahya Abdul-Mateen II are fantastic, fully committing to the characters and world in a way that makes them feel like they have been apart of the franchise since the beginning. On an action level is where Resurrections is at its most disappointing, eschewing the visceral close combat and inventive stylings of earlier instalments in favour of the quick-cut nonsense of modern action films; failing to properly showcase the impressive fight choreography Reeves is more than capable of. It only serves to further muddy Wachowski’s point, turning her once-revolutionary action franchise into just one of the many poorly shot action films that exist today, devoid of any truly standout set-pieces that were once the franchises bread and butter.

The Matrix: Resurrections ultimately ends up like the other sequels, taking one step forward towards furthering the franchises and the bevy of interesting ideas behind it, before taking two back by cluttering an already confusing world; this time with a meta commentary so muddled that it is impossible to tell what beats are meant in earnest and which are poking fun at the state of modern film. Keanu Reeves remains this series’ strongest element, once again giving an enrapturing performance as Neo which is only strengthened by a solid supporting cast. When the film is pared back to its roots of inventive sci-fi action is when it is at its best, a solid enough ride that will leave you with a smile on your face at the fact that yes, after all these years, Keanu Reeves still knows kung-fu.

The Matrix: Resurrections stars Keanu Reeves, Carrie-Anne Moss, Jessica Henwick, Yahya Abdul-Mateen II, Jonathan Groff, Priyanka Chopra Jonas, Jada Pinkett Smith, Christina Ricci & Neil Patrick Harris – In cinemas now and streaming on HBO Max in the US.

6/10

Tags Carrie-Anne Moss, Christina Ricci, Jessica Henwick, Jonathan Groff, Keanu Reeves, Lana Wachowski, Neil Patrick Harris, Priyanka Chopra, The Matrix, The Matrix Resurrections, Yahya Abdul-Mateen II

Movie Reviews

Candyman

Post author By Mark
Post date September 20, 2021

It may take saying his name five times to summon Candyman, but it only took his film franchise two mediocre sequels to seemingly spell his doom. That is until now, with Nia DaCosta’s sequel reviving the franchise in spectacularly bloody fashion. Retaining the original film’s moody, sullen tone, DaCosta has crafted a sequel that is sufficiently spine-tingling and gory whilst packing in enough biting indictment of the struggles of the African-American experience to really make an impact on the horror genre, rather than the hollow cash-grab it could have been. Favouring that social commentary instead of an all-out orgy of violence for its finale may leave some viewers wanting, but a star-making performance from Yahya Abdul-Mateen II ensures that Candyman’s revival is as glorious as it should be.

Taking a page from 2018’s Halloween reboot, Candyman acts as a direct follow-up to the first film, forgoing the mediocre sequels in favour of a story set 30 years after Helen Lyle’s tumultuous investigation into the urban legend of Candyman in the Chicago housing projects of Cabrini-Green. Here local artist Anthony McCoy (Yahya Abdul-Mateen II) struggles to find inspiration for his next project, fixating on the local legend of Candyman and setting off on an investigation into his reign of terror that leads him to Burke (Colman Domingo), a local resident who considers himself an expert on the subject. As mysterious murders begin to mount around Anthony, he finds himself disconnecting from the world, experiencing strange visions of violence that drive a wedge between him and girlfriend Breanna (Teyonah Parris). As his obsession turns to fear, Anthony sets out on a desperate attempt to end the curse he feels he is under, but is it too late for his salvation?

Candyman has kills aplenty: throats slashed, innards spilled and limbs severed. The gore is sufficiently stomach churning for a modern horror film, but what sets it apart is the tone Nia DaCosta establishes – thanks in no small part to Robert Aiki Aubrey Lowe’s chilling score – that ensures you are never truly comfortable as you watch. You might not be out of your mind terrified at all times but there is a constant dread lingering in the back of your mind that the Candyman may strike from anywhere. DaCosta wisely builds her big set-pieces around this, knowing when to hold back to build suspense and when to go balls-to-the-wall crazy.

In this same way she and co-writers Win Rosenfeld and Jordan Peele build the social commentary into the script: rarely loud and in your face, preferring that you make your own conclusions rather than holding your hand to find the social message at its centre. That message isn’t particularly subtle but it is powerful, the gentrification of the Chicago suburb of Cabrini-Green has always been at the heart of the Candyman story, and DaCosta presents a new perspective, questioning Anthony’s contribution to that very problem by purchasing a new apartment in the traditionally low-income suburb and his profiting off of the suffering of Candyman’s victims by way of his art. DaCosta digs a little deeper in her exploration of gentrification, with a discussion of art and the artist’s role in the social problem, but it is somewhat lost in the film’s larger commentary, with the powerful finale choosing to focus on the problem in a very literal way instead.

The star of the piece, however, is undoubtedly Yahya Abdul-Mateen II. He is simply impossible to turn away from, bringing a charisma and energy to Anthony that is fascinating to watch slowly chip away as Candyman’s influence spreads. Moments when he experiences these dream-like states of unawareness are incredibly unsettling to watch, as Abdul-Mateen II’s eyes slowly lose focus, with DaCosta often choosing to shoot him looking directly at camera, as if Candyman is lingering over your very shoulder. Whilst more time could have been spent developing the relationship between Anthony and Parris’ Breanna, particularly the complicated dynamic between partners and gallery owner/artist, this is a minor gripe and a testament to the strength of the performances that you want to spend more time with these characters. Parris’ character isn’t the focus for much of the film but still gets some standout moments, easily conveying the pure terror she experiences through widened eyes alone.

Nia DaCosta clearly has a lot of love for the 1992 original Candyman, linking Anthony’s story to Helen’s in genuinely surprising ways and maintaining a tone that feels consistent with that film but which still manages to be its own dread-filled beast, with social commentary that is smart and biting, but never enough to draw the attention away from Candyman himself, who is represented here in a truly spine chilling way. Yahya Abdul-Mateen II’s performance is a standout in a year full of horror standouts, a haunting examination of one man succumbing to obsession and the dark forces it brings with it. You might not be able to utter his name in front of the mirror more than once, but you’ll be dying to see Candyman again and again.

Candyman stars Yahya Abdul-Mateen II, Teyonah Parris, Nathan Stewart-Jarrett & Colman Domingo – In cinemas now.

8/10

Tags Candyman, Colman Domingo, Nathan Stewart-Jarrett, Nia DaCosta, Teyonah parris, Vanessa Williams, Yahya Abdul-Mateen II

Movie Reviews

The Trial of the Chicago 7

Post author By Mark
Post date November 6, 2020

America has been in an interesting state this year. From the devastating impact of the pandemic and its mismanagement by the government to the recent Black Lives Matter protests and rise of white supremacists, it seems as if the country was on the brink of collapse. It seems almost too good to be true then that Netflix’s latest film The Trial of the Chicago 7 released when it did, tapping into the country’s fear of racial discrimination and police brutality in a way that perfectly captures the public’s fury at the horrifying events which have plagued the country. Written and directed by master scribe Aaron Sorkin, the film tells the story of the 1968 Democratic Convention riots in Chicago and the subsequent trial of the seven individuals charged with inciting the riots, with dialogue only he could pen, crackling with intensity and urgency. Beyond the writing, the film also features some incredible performances from the entire cast including Sacha Baron Cohen, Eddie Redmayne and Frank Langella (to name a few) which should make it a sure-fire contender come Oscar season.

For those who don’t know the story of the Democratic convention riots, the film does a good job early on to introduce you to the many elements and characters that led to the ultimate violent clash between protestors and police. At the height of the Vietnam War, three protest groups in America – all seemingly independent yet aware of each other – agreed to demonstrate against forced conscription by rallying in Chicago’s Grant Park. Once the police arrive and things get out of hand, chaos erupts, ultimately leading to the arrest of eight men: Tom Hayden (Eddie Redmayne), Rennie Davis (Alex Sharp), Abbie Hoffman (Sacha Baron Cohen), Jerry Rubin (Jeremy Strong), David Dillinger (John Carroll Lynch), John Froines (Danny Flaherty), Lee Weiner (Noah Robbins) and Bobby Seale (Yahya Abdul-Mateen II), the leader of the Black Panthers. The trial that ensues is anything but ordinary, a farcical mess thanks to the clearly prejudiced presiding Judge Julius Hoffman (Frank Langella), leaving defence attorney William Kunstler (Mark Rylance) little recourse in his fight for justice; essentially handing the win to prosecution lawyer Richard Schultz (Joseph Gordon-Levitt).

While it does take some dramatic liberties with certain aspects of the story, Sorkin’s script is a masterclass in engaging, fast-flowing dialogue. The few scenes of action are very well shot, with Sorkin showing an eye for fast, frenetic paced chaos but it is the dialogue that is utterly spellbinding and will have you glued to your seat throughout the entire trial. Rarely do courtroom films feel so alive and full of energy, with each outburst from the judge or one of the defendants adding an extra layer to the trial and further stacking the deck against the Chicago 7. It might not be entirely realistic for the court to be so lively but Sorkin writes with such passion for justice that it is extremely hard not to get invested, as Kunstler desperately attempts to make Judge Hoffman see reason and that Bobby Seale’s rights are being infringed upon. Seale is the only accused not to be represented by Kunstler (hence it not being the Chicago 8) and his back-and-forth with Judge Hoffman is magnificent, filled with rage and mutual contempt. It has been a good long while since I have been as invested in a film’s courtroom case as much as this one, and it is clearly an area that Sorkin thrives in, following A Few Good Men and The Social Network’s equally arresting trials.

A good script is nothing without actors to bring it to life and Sorkin has assembled a veritable smorgasbord of talent here to do it. Eddie Redmayne as Tom Hayden is the perpetually unsure yet resolute champion for civil rights revolution through non-violent, legal means. Redmayne fluctuates between remorse for the riots that he may have had a hand in starting and confidence that – once they bite their tongues and win the trial – they can continue to make strides towards civil rights change. You can feel the internal conflict within Redmayne; moving between nervous looks and hard unblinking gazes that underly the terror he feels at the thought of going to prison. Sacha Baron Cohen’s Abby Hoffman, on the other hand, does not share this same view, perpetually confident that the trial will be the loud, public spectacle that will bring worldwide attention to the civil rights injustice in America and willing to sacrifice himself for that ideal if need be. The not-so-subtle jabs he and the equally great Jeremy Strong shoot at Judge Hoffman are particular highlights; moments of levity and humour that give the audience a respite from the bleak outlook of the trial. As the trial wears on, Abby’s confident façade begins to fade, a weariness settling over him and a fear that the trial will not actually change things. Baron Cohen’s performance is excellent, playing not only to his comedic strengths but also his outspoken political ideals (just look at his Borat sequel); a winning combination that may just net him a well-deserved Best Supporting Actor nod.

Frank Langella threatens to outshine them all, however, as the aggressively one-sided Judge Hoffman. The man embodies the worst traits of the upper class; snubbing his nose at the “hippy” Chicago 7 and denying them their due process in the system. It’s a performance that, on its surface, works to make you absolutely loathe the character and get you completely behind the Chicago 7, but Langella goes a step further, giving the Judge perhaps a hint of Dementia or some other illness as he stumbles through speeches at times, contorting his face in odd expressions and ignoring the rigid rules of the court in order to espouse his own opinions. It works to ground the character as a relic of a time gone by and a physical embodiment of the pro-Vietnam sentiment that the protesting defendants are up against. To this man, not enlisting is one of the most heinous crimes that can be committed, regardless of the reasoning, and no force on earth will stop him from convicting these men.

The Trial of the Chicago 7 is an incredibly timely film. One that will have you in a blind rage at the injustices you are seeing, made all the more potent by the contemporary comparisons that can be made. Aaron Sorkin’s writing is as excellent as ever, if a little bombastic at times, but it does the trick to get you so completely behind these eight men that have suffered such injustice. With excellent performances from the entire cast and some spot-on costuming and set design that will have you thinking you’ve been transported to the 60’s, this is an absolute home-run of a film for Netflix; a serious awards contender that deserves the praise that is being heaped on it and the best film of the year so far.

The Trial of the Chicago 7 stars Eddie Redmayne, Sacha Baron Cohen, Frank Langella, Mark Rylance, Jeremy Strong, Joseph Gordon Levitt, Yahya Abdul-Mateen II, Alex Sharp, John Carroll Lynch, Ben Shenkman & Michael Keaton – Streaming on Netflix now.

Tags Aaron Sorkin, Eddie Redmayne, Frank Langella, Jeremy Strong, Joseph Gordon Levitt, Mark Rylance, Michael Keaton, Netflix, Sacha Baron Cohen, The Trial of the Chicago 7, Yahya Abdul-Mateen II