20 Years of The Matrix: Preposterous, or Masterful?

The Matrix is a 1999 film directed by The Wachowski Sisters. Released to acclaim, the movie changed action filmmaking completely in the decades that’ve followed. It currently sits at an 88% on Rotten Tomatoes, based on 147 reviews, a 73 on Metacritic, based on 35 reviews, and an 8.7/10 on IMDb, based on 1510339 reviews. It’s also at #18 on IMDb’s Top 250 List. Yet despite its legacy, I remain incredibly-divided, with its strengths and flaws on-par with one-another. And while I recognize that whatever I say will inevitably anger someone, I feel it’s time to air my dirty laundry once and for all.

(By the way, there’ll be spoilers. And I’m focusing exclusively on the original film.)

What works?

Enough that counts.

This is a brilliant story. The idea of a world controlled by outside forces, yet ones you can escape from, is a tired trope now, but back in 1999, during the dawn of the digital world, it was new and exciting. Given the tedious, 9-5 mentality with little reprieve, “break free from the powers that be” is an everyman’s dream. That you can come back and manipulate it as well is a bonus.

Give it credit: for all the issues I have, more on that later, The Matrix speaks to a lot of marginalized individuals. For gay, bisexual, transgender or other queer people, who’ve long felt trapped in a world that doesn’t accept them, connecting with a movie that challenges and counters norms feels refreshing. This is reinforced by Lana and Lily Wachowski both coming out as transgender women in the 20 years since. And it’s further strengthened by their filmography having queer-positive elements in it.

If that’s too esoteric, The Matrix also has allusions to several allegories and theologies. It has ties to Judaism, apparent in the “first Matrix” referencing Eden, it has ties to the crucifixion, and it has pagan symbolism. It also has callbacks to 1984 and Blade Runner, as well as Dante’s Inferno and Faustus. And it lifts from neo-classist, Buddhist and post-modern philosophy, the latter particularly in its “dessert of the real” line. There’s so much hidden meaning that even now, 20 years later, I’m picking up new themes and points.

The Matrix also feels really personal, especially considering the directors. One scene in particular, where Neo is faced with an oncoming subway train, parallels Lana Wachowski’s brush with suicide as a child. You can feel the passion and love that went into writing and directing this movie, as each frame oozes both. It’s not often a studio movie’s given this much room to breathe, especially in this day and age.

I like the character of Neo on paper. I like how rogue-like he is. I like how he feels like an outsider until he breaks free. I like how he cares about his destiny. I even like how he adapts to bizarre situations not within his control.

I also like several of the supporting characters. Not all of them are great, more on that later, but Morpheus, Trinity and Tank stand out. (It helps that not much is asked of them.) I also like Agent Smith, what with how much scenery he eats with his acting. And I like The Oracle, a character with little screen-time who makes every second count.

I love the action in this movie, and how it feels weighty and stylized simultaneously. The Matrix took inspiration from Eastern action films and the living arts with its fights and choreography, and it shows. The movie blends that with Hollywood sensibilities, most-notably incorporating then-ground-breaking CGI and filmmaking techniques. (This was the movie that made bullet-time famous, after all.) And while so many movies would copy it in the years that followed, there’s still no denying how cool it is.

I like the sound design and music. The former feels really weighty. And the latter’s expertly-composed by Bill Pope, being a combination of synth and orchestral that fits to a teat. There’s no way around it: The Matrix sounds like, well, The Matrix.

Finally, I like how re-watchable this movie is. Even after 20 years, it feels like it could’ve come out today. Not many movies, even late-90’s movies, can attest to that. I still watch this movie at least once every few years, simply to make sure that I still like it. And I still do!

However, I know what you’re really here for…

What DOESN’T work?

Again, enough that counts.

On April 20th, 1999, mere weeks after The Matrix debuted, The Columbine Massacre occurred. Two high school students, Eric Harris and Dylan Klebold, walked into their school and shot 12 students and a teacher. Shortly afterward, they shot themselves. In the years that followed, it was revealed they were fans of Neo in The Matrix, even adopting his choice of clothing and weapons.

It’s unfair to pin the blame directly on it, but Columbine represents a snippet of the ripple-effect The Matrix has had. Remember how I said this film helped many isolated youth? It also became a rallying cry behind the MRA (or Men’s Rights Activism) movement who took the “red pill” scene too literally. The term “red-pilled” is now so synonymous with hate that it’s been mocked and meme’d online.

Perhaps the best example of this ripple-effect in full-swing is the lobby shoot-out, where Neo and Trinity gun down security. The scene, while fun, is gratuitous, ending with the lobby exploding and catching fire in slow-motion. In context, it makes perfect sense. On its own, however, it’s excessive.

Even outside of those questionable undertones, The Matrix has lots of little issues. Ignoring the racial coding of Morpheus and Neo’s relationship, the movie’s incredibly-unsubtle with its themes/writing. Neo’s an anagram for “One”, Trinity’s a reference to The Holy Trinity and Morpheus is synonymous with “morphing”. Even Cypher, the character who betrays the heroes, is supposed to be “Judas”. Yes, that Judas.

It doesn’t help that most of side-characters, save Hugo Weaving’s Agent Smith and Gloria Foster’s The Oracle, have little to work with outside of constantly expositing plot details. They’re boring, two-dimensional and can easily be switched around without much change. It’s a shame because they’re played by likeable, charismatic actors, many of whom have proven that they have range.

This issue is best exemplified in Neo, played Keanu Reeves. I have nothing against Reeves, he seems like a lovely man in real-life, but while he might be great at physical acting, he can’t emote beyond quiet, flat whispers and the occasional scream. Neo, therefore, is unbelievably boring and hard to take seriously. His character is likeable on paper, but he can’t sell his serious moments.

You know what doesn’t help? The dialogue. The dialogue is 85% exposition, 10% questions and maybe 5% emotion/bad jokes. And most of it is spoken to boring backdrops with little happening. I’m sure there’s a reason for this, Lana and Lily Wachowski were mimicking anime, but it doesn’t mesh with a Hollywood action film. Especially one as ambitious as The Matrix.

And, like I said, the humour is awful. There’s a dated reference to the Life cereal commercial that makes my ears bleed when I hear it. The conversation about tasty wheat, which I’m sure was supposed to be cute, is painful and uncomfortable. Neo’s line about the restaurant he used to eat at doesn’t even register a giggle. It’s a shame because the movie’s attempts at seriousness are the moments that are actually funny, are they’re trying way too hard.

Finally, not every philosophical moment lands. Some do, like the “there is no spoon” interaction, but that’s because they come back. Others, like “welcome to the dessert of the real” feel more profound in theory than practice, which is unfortunate. This movie has lots of lore and great ideas, but doesn’t juggle them well.

The verdict?

I feel awful for calling out The Matrix. The movie means a lot to so many, even me! But I can’t ignore the gaping, glaring flaws. They’re too big and too glaring.

I understand if you feel differently. I understand if your queer or non-queer identity was shaped by it. Who am I to judge what a piece of art does for you? Considering I’m the weirdo who likes Avatar, it’d be hypocritical for me to do that. But I have to be honest about my experience with The Matrix. Which is disappointing, as there’s a lot to like!

In the end, whether or not The Matrix holds up is subjective. For some people, it does, no questions asked! For others…not so much. Me? I’m in the middle, finding as much to love as to not love. And if I can still engage in the conversation, then isn’t that what matters?