TheMatrix laid the template for the gritty, gravity-defying, self-seriously cerebral modern blockbuster. sternbergh writes
Photo: Warner Bros./Courtesy of Everett Collection This series originally ran in 2019. We are republishing it as The Matrix Resurrections hits theaters and HBO Max.
Assassins, by the way, surfaced in 1995 as a heavily rewritten film starring Sylvester Stallone and directed by Richard Donner; the Wachowskis disavowed it. The involvement of Stallone and Donner later took on an ironic resonance, as The Matrix would both end the era of action movies that Stallone represented and reinvent superhero films to make them integral to the culture going forward.
Let’s start with the obvious, oft-remarked technical leaps: the film’s wire fighting and ballistic theatrics, imported directly from Hong Kong action films, and “bullet time,” the slo-mo special effect that was so eagerly and instantaneously imitated that it showed up as a sight gag in Scary Movie barely a year later.
As a side benefit for action fans, The Matrix also managed to miraculously revive the sort of trademark taglines made famous by Schwarzenegger & Co. — “I’ll be back” and so on — which had been rendered ridiculous by a decade of spot-on satires.
For Hollywood, the dilemma of the live-action superhero film had always been that it looks inherently ridiculous. Donner leaned into the cartoonish aesthetic with his gee-whiz, curly-locked Christopher Reeve as Superman, then Burton bulldozed through it with his kitsch-pastiche Batman. Comic books rely on people in ridiculous outfits routinely bending physics, two elements for which movies had not yet found a convincing visual language.
Without The Matrix, you likely don’t get the rise of Christopher Nolan. We needed the bridge of Neo to get us from Burton’s cartoonish Batman to a Dark Knight who growls in caves. Nolan’s subsequent hits, like Inception and Interstellar, don’t just engage in Matrix-like philosophical musings, they revel in them.
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