A gripping and engaging sequel fueled by a still iconic love story

CHAT EDITS

(15) 148 minutes

★★★ ☆☆

4

IT is 18 years since Neo and Trinity sacrificed their lives to return free will to humanity in the final installment of The Matrix trilogy. But franchise co-creator Lana Wachowski remains entangled.

That’s why she added another chapter to the story, with Keanu Reeves and Carrie-Anne Moss return for another journey down the rabbit hole.

Without her sister Lily this time, Wachowski teamed up with Cloud Atlas author David Mitchell and screenwriter Aleksandar Hemon.

They continue, in an interesting fashion, the existential crises between man and machine, the Matrix against reality, and the blue pill versus the red pill.

Legacy sequels, such as this, feel an inevitability in the current cinematic climate of remakes and reboots. Revival very aware of it; Neo comes back to life as Thomas Anderson, although he is now the award-winning designer of the Matrix video game released 20 years earlier. His therapist (Neil Patrick Harris) prescribes him blue pills to help combat the unusual things he sees.

But when his business partner (Jonathan Groff) informs Neo that they’re working on a sequel, in an overly self-referential sequence, a new version of Morpheus and the rebel captain Bugs appear, due to Yahya Abdul-Mateen II and Jessica Henwick play.

Morpheus once again gives Neo the red pill to open his mind to the far-fetched reality of a computer-generated kingdom – but it’s more dangerous and dominating than before and he needs Trinity to deal with it. everything.

The opening hour serves as a mirror reflecting the events leading up to Neo’s first awakening. Over-reliance on clips and nods to the 1999 original has hindered the pace.

4

The fight scenes and stunt choreography are sharp and dramatic but lack the inspiration of two decades ago. There’s more humor in a compelling plot that reminds us of the dangers of believing fiction than fact. Unfortunately, its loftier ideas about living in two realities are preferred over a more coherent scenario. But the chemistry between Reeves and Moss was as clear as day and no less positive. Trinity and Neo’s romance is a story for all ages, and the screen goes numb every time they’re in a scene together.

Iconic love story

Moss is great. She brings as much depth and vitality to Trinity as before – and so does Reeves, the embodiment of melancholy like no other. Jada Pinkett Smith’s return as the basic Niobe is also welcome.

Despite the dramatic swing from a diverse cast, old and new, Resurrections doesn’t quite reach the pinnacle of the original trilogy.

Still, it offers a gripping and thoughtful sequel fueled by a still iconic love story.

MAN

(15) 131 minutes

★★ ☆☆☆

4

The original Kingsman was a refreshing explosion of hilariously violent episodes in the face of restraint.

This secret service prequel has lost that swagger, and the swinging highs are weighed down by a awakening conscience.

Ralph Fiennes is the Duke of Oxford, a pacifist who does everything in his power to stop a shadowy group from starting World War I. There were downsides to concentration camps, imperial horrors, and privileged injustice.

That wouldn’t be so bad if it weren’t all mixed up with conflicting messages glorifying the elite and the glory of sacrifice. So much time has been spent trying to explain a version of history that is deliberately inaccurate that there isn’t enough space for action.

That’s a pity, as Rhys Ifans’ OTT taking on the role of Russian agent of chaos Rasputin is a joy to behold, as is Fiennes when he is finally released.

There are also highly entertaining comic book shoots from Tom Hollander as King George, Kaiser Wilhelm and Tsar Nicholas.

But overall, The King’s Man is just as enjoyable as listening to Prince Harry whine about some cause or another.

MACBET’s TEST

(15) 105 minutes

★★★★ ☆

4

FRANCES McDORMAND has proven himself to be one of Hollywood’s greatest living actors.

But even a multi-Academy winner can struggle to convincingly bring Shakespeare.

Luckily, she doesn’t miss a beat in one of Bard’s best female roles: Lady Macbeth.

In fact, the entire cast in Joel Coen’s solo directorial endeavor is breathtaking in a lavish retelling of the famous madness and murder story.

Denzel Washington plays Macbeth opposite McDormand, and the on-screen veterans showcased their acting class as the power couple, shot using a black and white palette that is both theatrical and very clever.

The background is clean and fuzzy, with the shadows used in contrast in an attractive way.

None of them distract from the perfect and powerful performances.

The supporting cast is impressive including Brendan Gleeson, Bertie Carvel and Stephen Root, while the witches – all played by Kathryn Hunter – are particularly chilling. Director Coen has made a very clean edit to Shakespeare’s original text.

But this heavy and unsettling adaptation is still a treat for superhero fans of this timeless tragedy.