Author state it really a bad movie
“Matrix,” the newest “Matrix” film released this time of year is somewhat of a disappointment although it does fall down on characters, action as well as the pacing, visible, and other factors but it is successful in a unique way that has something to speak about our association with technology.
(“The Matrix: Resurrection” spoilers ahead, however, … it kind of showed up in this pampered area.)
The initial “Matrix”‘s concept that the world we live in isn’t actually was not entirely original. Still, the deep sci-fi twist on it was a “Terminator”-Esque robotic apocalypse that uses artificial intelligence to calm the masses, captivating and well-crafted.In those days, we did not yet have that healthy fear about technology, which we see everyday smartphones weren’t around (and consequently, neither did our unhealthy dependence on them) robots were not even a thing AI was still a sci-fi concept, and social media was chat rooms and ICQ. Ah, the bliss of ignorance!
The fears and threats were not technological. It was machines that tied the human race to become living batteries, but in the end, the fear was about an Illuminati who was hiding the truth about the world from you, a notion that has been around for centuries.
“Resurrections” is different.
In the two decades since “The Matrix” came out, smartphones, AI, and social media (among other things) have emerged not merely as influential technologies but the defining characteristics of this era, both in terms of what they enable and new terrors they inflict.
The main threat outlined by “Resurrections” is not one of deceitful totality but somewhat of deliberate disinformation — possibly the most apparent and most imminent threat that we face today. The proposed solution isn’t to just cut through the curtain, which, as demonstrated by previous films, is only a part of the solution and live your life sincerely and in harmony and dialogue with the other.
The scenarios we see the main characters, like those at the beginning of the film, represent a myriad of dangers we could be entangled in. The initial compelling and meta-recasting of the original trilogy as a set of games is a half-truth that is more convincing than a lie. Neo, popular but stagnant creatively and professionally being treated for his mental illness, is in therapy to address his unhealthy perception of the game as accurate. Trinity has enjoyed a familiar routine, a way to go. Also, (new) Morpheus lives in an unstoppable echo chamber.
It’s easy to connect these concepts with the most severe threats to social media: room scrolling, self-delusion, and radicalization. The machines are instruments of influence, and their thoughts appear like ones that one has.
It’s less than “this isn’t the real-life,” although it isn’t, instead of that “my ideas aren’t my real ideas.” Well, otherwise yours, then whose? Answer that question, and also, you find your oppressor.
In other places, we see failed approaches to think for yourself. Outside of the world, humanity has stagnated. The original revolutionary Morpheus has gone, and the new leadership is stumbling due to risk-aversion when faced with apocalyptic threats. There are the echoes of a dysfunctional government in a state of inaction, unable to take the courageous step needed for progress.
In the warehouse, we can find even if it’s clumsily executed — a type of Neophobic (pun intended, and deliberately) Boomer mentality of complete rejection of the wild Merv: “We had grace and style. We talked, and it wasn’t that … beep-beep, beep! Books, movies, art were all more enjoyable! Originality was important!” He wants to be back in the past of self-proclaimed greatness. A snarling, befouled barbarian blames technology for his inability to adjust.
And last, there’s the existence of a civil war, one of the machines:
shades of tech, unsustainable but not able to avoid, starting to consume itself.
The idea that “Resurrections” puts forth as the way forward is in a way an old-fashioned “let’s all work together!” However, the subtext enhances the message with a clear and logical one”The common enemy” is technological but not necessarily the technology itself. The escape plan is only a dream that you’re stuck in the shackles of your mind.
What’s essential in the show may be the rejection from the programming we’ve adopted as our very own, whether it’s been maliciously and deliberately engineered with a high-tech foe or showed up more naturally through too little self-reflection.
The path of coexistence is one that we must take, and to do that, we must rethink our beliefs about each other. The fact that humans and robots we despise together is a shock to Neo. We shouldn’t get too much into politics, not sure this is an allegory of bipartisanship. Instead, take a look at the new language that was introduced. They’re not robots, but “sentients” — a delightful portmanteau of words, presented in an empathetic way that mirrors the subject of pronouns as well as labels.
The gender spectrum is a continuum, so why is consciousness not?
In “Resurrections,” it’s coexistence using the other that’s the only realistic path, in the “real world” where robots and humans must share the earth, as well as in the Matrix, where even AIs chafe underneath the overbearing control over their roles and agency.
Ultimately, following the requisite Amor Vincit Omnia moment and subsequent overblown action scenes, the ultimate showdown is among perspectives. The “Analyst” that has given humanity the rope that it’s bound itself states that individuals are happier this way.Neo and Trinity claim that the technological treadmill that people purportedly opt to walk is because the system was created to block real connection and happiness.
Not even close to the solipsistic barbarians or even the easily passive leadership, “Resurrections” endorses a comprehensive and collaborative world where individuals can learn and be – since the tools and entities that stored them ignorant and divided are identical that offer illumination and connection.