#3: Johnny Mnemonic (1995)
Keanu is such a charming man :3
Keanu is such a charming man :3
I’ve held off on watching this because I wanted to view the OG one first. The 1982 film. I don’t even know what freakin’ cut I watched. Anyway, I’m glad I did because I believe that led me to appreciate 2049 just a little more. I loved how Deckard (Harrison Ford) returned to the franchise. His appearance was not merely a cameo, nor did it feel like they brought him back just for nostalgia’s sake. Plus, there was continuity or whatever…
It’s indeed a treat: viewers get a mix of body horror, psychological thrills, and-–of course--science fiction’s must-have implications. Manmade horrors beyond my comprehension? Hell yeah! Even the architecture is brutal. Well, brutalist. Wallace’s room (lair? Lol…) is stunning. Gosh, there’s so much to nerd about.
I love, love, <3 Blade Runner!!! I’m so excited to dive into the franchise. Apparently the iceberg is HUGE. Probably bigger than TRON’s own. (No shade to TRON, though. Love that one, too.)
I myself would argue that it is not a cyberpunk film... BUT The Matrix holds a special place in my heart.
I originally wrote this for a college composition class. It was an easy assignment -- a simple review. I did not keep it simple though. Sorry not sorry
From the get-go, viewers are immersed into the structure of the ever-expanding, ever-evolving Matrix. In William Gibson’s 1984 novel, Neuromancer, the average person is able to “[project] his [or her] disembodied consciousness into the consensual hallucination that [is] the matrix” (6). However, the 1999 film, The Matrix, borrows this idea and puts a horrifyingly wonderful spin on it: the people in the Matrix are born into it as slaves, with their minds projected into the wholly virtual reality via brain-computer interfaces. Their bodies are elsewhere, in a desolate, post apocalyptic, machine-ruled world likened to that of I Have No Mouth and I Must Scream by Harlan Ellison. Interestingly, the main character is no exception. Thomas A. Anderson works by day at a software corporation, climbs the corporate ladder, then commutes back to his urban, sub-standard apartment; by night, after removing his white-collared shirt, he relentlessly surfs the web in search of Morpheus under the moniker of Neo. A shot from above depicts his obscenely large array of computers and keyboards. Evidently, the film gives plenty of nods to science fiction geeks. Along with Mega City’s impressive neon skyline and the motif of overflowing green text, the film emanates a particularly cyberpunk feel. There is much to take in and digest within The Matrix; it is a work of art that an individual must study for themself, ponder upon, and then apply again and again.
First of all, the magnitude of influence the film has had on popular culture cannot be overlooked. The most widespread example of its dissemination is the redpill-bluepill rhetoric. The two represent an embrace of difficult truths and persistence in a state of ignorance and comfort, respectively. The two terms, along with pinkpilled and whitepilled, have circulated in online spaces among the anti-feminist alt-right, femcels, and the hopeful moderates alike. It has drawn people with all sorts of beliefs for discussion in digital spaces. On top of this, ultra-glossy black leather is so back in the fashion scene. Fashion moguls draw inspiration from none other than Trinity: the leather-rocking, gun-shooting baddie of The Matrix. It is important to note that in the 80s preceding, the term ‘razorgirl’ referred to female cyberpunk figures like Motoko Kusanagi from Ghost in the Shell (1995) and Molly Millions from Gibson's Sprawl trilogy. Still, Trinity’s advent to the big screen solidified the trope. Having said all this, The Matrix is a spectacular piece of fine cinematography that has shaken up the cultural landscape for the better.
What is more, the way that The Matrix uses avant-garde videography in hand with advanced, computer-generated imagery inspires wonder. The emotion causes us to ponder about what is otherwise taken for granted or assumed to be true. For example, Morpheus, Neo’s mentor, trains him in physics-defying, jaw dropping kung-fu style fighting. Blink, and you’ll miss it: high kicks, tiger sweeps, swift elbow blows, or a wall run-up. Using these skills against Agent Smith, Neo shows how bulletproof he is by ducking under shots fired in a rooftop showdown. From multiple angles, time slows down as the bullets merely graze him. The two duel at a speed faster than a heartbeat, faster than sound. It is just the right amount of action to keep the movie’s momentum going. While watching that on the big screen for the first time at sixteen, I felt like a little kid again. In those minutes, I did not care for logic or even physics; I even entertained the thought of attempting such feats. Wonder can inspire other watchers to gain the godlike strength of Neo and become free of almost any physical limitation.
Last, but not least, the film delves into philosophical lessons that the average person can apply to his or her own life. The Matrix deceptively suggests that our lives are constructed by fate, but it later gives way to a deeper discussion of free will. In the renowned red-pill, blue-pill scene, Morpheus offers two options: the answer as to why Neo yearns for something more out of his life, or a return to the five-star prison over his mind. One could consider this story when even considering their dead-end job, for instance. It’s predictable and safe enough, yet devoid of fulfillment. Burnout looms around the corner. Upon taking the metaphorical red pill, one begins to take risks of their own choosing and yield meaningful rewards. Another period of uncertainty follows, but in that waiting, the person toils at improving their situation. This teaches a valuable lesson to any existentialist or absurdist: there may be no inherent meaning for living amidst all the chaos, but our choice in the matter remains.
Ultimately, the Wachowskis’ The Matrix is a treat for science fiction, pop culture, and philosophy lovers alike. Although this film is not necessarily approachable for everyone, whoever it resonates with will become obsessed. There is no denying that it left behind a legacy. It disseminated the term ‘red pill,’ shook up the filmmaking game, and even altered the fashion scene with stylish-but-violent gear. Undoubtedly, the classic remains a groundbreaking work of art even 25 years later, and beyond.
I left my citations at home