While it starts promisingly with the introduction of the creepy Trainman and a Mexican standoff with the Merovingian, the film soon shifts from the wire-fu hand-to-hand combat within the Matrix that makes the franchise so interesting to a generic and mind-numbing large-scale attack on Zion. Even the Bane-as-Agent Smith slasher interlude isn’t compelling enough to save the rest of the film from feeling hokey and bloated.
Hot take: I think it's even better than the first one. The action setpieces are larger-scale and more visceral, the stakes are higher because of what has already been lost, the complex themes of grief, spirituality and allyship are given the space to breathe and be fully explored, and both the villain and the heroine are afforded a surprising amount of moral ambiguity.
That's right, "heroine" — this is a by and large female ensemble with the exception of Winston…
This might be the most stylistically interesting film of the year; the mud- and blood-stained mise-en-scène, gothic Americana road trip narrative structure, gorgeously hazy Kodak cinematography and off-kilter acoustic score combined create such a distinctive vibe. Guadagnino's direction interpolates the cinematic vocabulary of the era with wide-angle zoom lenses and triple axial cuts while experimenting with new techniques in nightmarish montages including split-second frames that feel like the projector's caught fire or a computer is having a seizure.
the way i passionately rick dalton'd at the screen as soon as david lynch showed up. it's a moment that feels like the cinematic version of when drake claimed to be an mf doom fan, but i don't really care cause THATS MY GUY!!!
anyway, a great movie about the cathartic power and often destructive mania of art. i loved the jewish representation (especially judd hirsch) and exploration of antisemitism, as well as how subtly it tackles mental illness in…