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But also I enjoyed The Matrix Reloaded the best out of all of them.
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The best film so far this year!!
No movie this year even compares to The Matrix Reloaded.Its probably the best action film I have ever seen.
Originally Posted by Beale the Rippe
What would you say Spike's best is Hondo?
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It's a god-awful small affair, To the girl with, the mousy hair, But her mummy is yelling "No", and her daddy has told her to go, But her friend is nowhere to be seen, Now she walks through her sunken dream, To the seat with the clearest view, And she's hooked to the silver screen, But the film is a saddening bore, For she's lived it ten times or more...
It's a god-awful small affair, To the girl with, the mousy hair, But her mummy is yelling "No", and her daddy has told her to go, But her friend is nowhere to be seen, Now she walks through her sunken dream, To the seat with the clearest view, And she's hooked to the silver screen, But the film is a saddening bore, For she's lived it ten times or more...
The Matrix reloaded has to be one of the biggest dissapointments this year. I hated this film with authority.
The best of the year so far have to be
1. X2
2. Finding Nemo
3. Phone Booth
4. The Hulk
I have not seen T3 yet but shall be going shorty.
The best of the year so far have to be
1. X2
2. Finding Nemo
3. Phone Booth
4. The Hulk
I have not seen T3 yet but shall be going shorty.
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Tremble and despair for I am power! - Milamber - Magician
Visit the best film forum on the web http://www.empireonline.co.uk/
No movie this year even compares to The Matrix Reloaded. Its probably the best action film I have ever seen.
SB......With everyone's choices almost the same, I am interested in seeing yours. I know you said it is too early to decide, but can you list just a few of your favorites so far?
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Originally Posted by Hondo333
Do the Right Thing is his best but i also love He Got Game and Get On the Bus
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"I'm mad as hell, and I'm not going to take it anymore!" - Howard Beale
"I'm mad as hell, and I'm not going to take it anymore!" - Howard Beale
Okay whoa whoa whoa, why is it I know about 40 people including me that love this movie, but when I go to the net people say they just hate The Matrix Reloaded.I think The Matrix Reloaded is one of the only action films I can see over and over again and never get tired of it.You know I always always hear people saying they hated The Matrix Reloaded but they never give a reason, they just say they hate it.Can Somebody somebody please please give me a reason why nobody liked this film.I loved the action, I loved the story, I loved the dialoge, I loved everything about this movie, I really had no problems with it, some action films I see I have some problems with it but not this one, I consider this trilogy to be like the new star wars trilogy, its just as good.And I know this trilogy will become a classic.
I am not the only fool who loves this movie, this is a review from one of the best movie critics in the world, Roger Ebert, He liked this movie too, here is his review.
Commander Lock: "Not everyone believes what you believe."
Morpheus: "My beliefs do not require that they do."
Characters are always talking like this in "The Matrix Reloaded," which plays like a collaboration involving a geek, a comic book and the smartest kid in Philosophy 101. Morpheus in particular unreels extended speeches that remind me of Laurence Olivier's remarks when he won his honorary Oscar--the speech that had Jon Voight going "God!" on TV, but in print turned out to be quasi-Shakespearean doublespeak. The speeches provide not meaning, but the effect of meaning: It sure sounds like those guys are saying some profound things.
That will not prevent fanboys from analyzing the philosophy of "The Matrix Reloaded" in endless Web postings. Part of the fun is becoming an expert in the deep meaning of shallow pop mythology; there is something refreshingly ironic about becoming an authority on the transient extrusions of mass culture, and Morpheus (Laurence Fishburne) now joins Obi-Wan Kenobi as the Plato of our age.
I say this not in disapproval, but in amusement. "The Matrix" (1999), written and directed by the brothers Andy and Larry Wachowski, inspired so much inflamed pseudo-philosophy that it's all "The Matrix Reloaded" can do to stay ahead of its followers. It is an immensely skillful sci-fi adventure, combining the usual elements: heroes and villains, special effects and stunts, chases and explosions, romance and oratory. It develops its world with more detail than the first movie was able to afford, gives us our first glimpse of the underground human city of Zion, burrows closer to the heart of the secret of the Matrix, and promotes its hero, Neo, from confused draftee to a Christ figure in training.
As we learned in "The Matrix," the Machines need human bodies, millions and millions of them, for their ability to generate electricity. In an astonishing sequence, we saw countless bodies locked in pods around central cores that extended out of sight above and below. The Matrix is the virtual reality that provides the minds of these sleepers with the illusion that they are active and productive. Questions arise, such as, is there no more efficient way to generate power? And why give the humans dreams when they would generate just as much energy if comatose? And why create such a complex virtual world for each and every one of them, when they could all be given the same illusion and be none the wiser? Why is each dreamer himself or herself, occupying the same body in virtual reality as the one asleep in the pod?
But never mind. We are grateful that 250,000 humans have escaped from the grid of the Matrix, and gathered to build Zion, which is "near the Earth's core--where there is more heat." As the movie opens, we are alarmed to learn that the Machines are drilling toward Zion so quickly that they will arrive in 36 hours. We may also wonder if Zion and its free citizens really exist, or if the humans only think so, but that leads to a logical loop ending in madness.
Neo (Keanu Reeves) has been required to fly, to master martial arts, and to learn that his faith and belief can make things happen. His fights all take place within virtual reality spaces, while he reclines in a chair and is linked to the cyberworld, but he can really be killed, because if the mind thinks it is dead, "the body is controlled by the mind." All of the fight sequences, therefore, are logically contests not between physical bodies, but between video game-players, and the Neo in the big fight scenes is actually his avatar.
The visionary Morpheus, inspired by the prophecies of the Oracle, instructed Neo--who gained the confidence to leap great distances, to fly and in "Reloaded" destroys dozens of clones of Agent Smith (Hugo Weaving) in martial combat. That fight scene is made with the wonders of digital effects and the choreography of the Hong Kong action director Yuen Wo Ping, who also did the fights in "Crouching Tiger, Hidden Dragon." It provides one of the three great set pieces in the movie.
The second comes when Morpheus returns to Zion and addresses the assembled multitude--an audience that looks like a mosh pit crossed with the underground slaves in "Metropolis." After his speech, the citizens dance in a percussion-driven frenzy, which is intercut with Neo and Trinity (Carrie-Anne Moss) having sex. I think their real bodies are having the sex, although you can never be sure.
The third sensational sequence is a chase involving cars, motorcycles and trailer trucks, with gloriously choreographed moves including leaps into the air as a truck continues to move underneath. That this scene logically takes place in cyberspace does not diminish its thrilling 14-minute fun ride, although we might wonder--when deadly enemies meet in one of these virtual spaces, who programmed it? (I am sure I will get untold thousands of e-mails explaining it all to me.)
I became aware, during the film, that a majority of the major characters were played by African Americans. Neo and Trinity are white, and so is Agent Smith, but consider Morpheus; his superior Commander Lock (Harry Lennix); the beautiful and deadly Niobe (Jada Pinkett Smith), who once loved Morpheus and now is with Lock, although she explains enigmatically that some things never change; the programmer Link (Harold Perrineau); Link's wife, Zee (Nona Gaye), who has the obligatory scene where she complains he's away from home too much, and the Oracle (the late Gloria Foster, very portentous). From what we can see of the extras, the population of Zion is largely black.
It has become commonplace for science fiction epics to feature one or two African-American stars, but we've come a long way since Billy Dee Williams in "Return of the Jedi." The Wachowski brothers use so many African Americans, I suspect, not for their box-office appeal, because the Matrix is the star of the movie, and not because they are good actors (which they are), but because to the white teenagers who are the primary audience for this movie, African-Americans embody a cool, a cachet, an authenticy. Morpheus is the power center of the movie, and Neo's role is essentially to study under him and absorb his mojo.
The film ends with "To Be Concluded," a reminder that the third film in the trilogy arrives in November. Toward the end, there are scenes involving characters who seem pregnant with possibilities for Part 3. One is the Architect (Helmut Bakaltis), who says he designed the Matrix and revises everything Neo thinks he knows about it. Is the Architect a human, or an avatar of the Machines? The thing is, you can never know for sure. He seems to hint that when you strip away one level of false virtual reality, you find another level beneath. Maybe everything so far is several levels up?
Stephen Hawking's A Brief History of Time tells the story of a cosmologist whose speech is interrupted by a little old lady who informs him that the universe rests on the back of a turtle. "Ah, yes, madame," the scientist replies, "but what does the turtle rest on?" The old lady shoots back: "You can't trick me, young man. It's nothing but turtles, turtles, turtles, all the way down."
So I'm a fool if I like it, then the best movie critic in the world also likes it, he has it on his best movie list of 2003 and So do I
Commander Lock: "Not everyone believes what you believe."
Morpheus: "My beliefs do not require that they do."
Characters are always talking like this in "The Matrix Reloaded," which plays like a collaboration involving a geek, a comic book and the smartest kid in Philosophy 101. Morpheus in particular unreels extended speeches that remind me of Laurence Olivier's remarks when he won his honorary Oscar--the speech that had Jon Voight going "God!" on TV, but in print turned out to be quasi-Shakespearean doublespeak. The speeches provide not meaning, but the effect of meaning: It sure sounds like those guys are saying some profound things.
That will not prevent fanboys from analyzing the philosophy of "The Matrix Reloaded" in endless Web postings. Part of the fun is becoming an expert in the deep meaning of shallow pop mythology; there is something refreshingly ironic about becoming an authority on the transient extrusions of mass culture, and Morpheus (Laurence Fishburne) now joins Obi-Wan Kenobi as the Plato of our age.
I say this not in disapproval, but in amusement. "The Matrix" (1999), written and directed by the brothers Andy and Larry Wachowski, inspired so much inflamed pseudo-philosophy that it's all "The Matrix Reloaded" can do to stay ahead of its followers. It is an immensely skillful sci-fi adventure, combining the usual elements: heroes and villains, special effects and stunts, chases and explosions, romance and oratory. It develops its world with more detail than the first movie was able to afford, gives us our first glimpse of the underground human city of Zion, burrows closer to the heart of the secret of the Matrix, and promotes its hero, Neo, from confused draftee to a Christ figure in training.
As we learned in "The Matrix," the Machines need human bodies, millions and millions of them, for their ability to generate electricity. In an astonishing sequence, we saw countless bodies locked in pods around central cores that extended out of sight above and below. The Matrix is the virtual reality that provides the minds of these sleepers with the illusion that they are active and productive. Questions arise, such as, is there no more efficient way to generate power? And why give the humans dreams when they would generate just as much energy if comatose? And why create such a complex virtual world for each and every one of them, when they could all be given the same illusion and be none the wiser? Why is each dreamer himself or herself, occupying the same body in virtual reality as the one asleep in the pod?
But never mind. We are grateful that 250,000 humans have escaped from the grid of the Matrix, and gathered to build Zion, which is "near the Earth's core--where there is more heat." As the movie opens, we are alarmed to learn that the Machines are drilling toward Zion so quickly that they will arrive in 36 hours. We may also wonder if Zion and its free citizens really exist, or if the humans only think so, but that leads to a logical loop ending in madness.
Neo (Keanu Reeves) has been required to fly, to master martial arts, and to learn that his faith and belief can make things happen. His fights all take place within virtual reality spaces, while he reclines in a chair and is linked to the cyberworld, but he can really be killed, because if the mind thinks it is dead, "the body is controlled by the mind." All of the fight sequences, therefore, are logically contests not between physical bodies, but between video game-players, and the Neo in the big fight scenes is actually his avatar.
The visionary Morpheus, inspired by the prophecies of the Oracle, instructed Neo--who gained the confidence to leap great distances, to fly and in "Reloaded" destroys dozens of clones of Agent Smith (Hugo Weaving) in martial combat. That fight scene is made with the wonders of digital effects and the choreography of the Hong Kong action director Yuen Wo Ping, who also did the fights in "Crouching Tiger, Hidden Dragon." It provides one of the three great set pieces in the movie.
The second comes when Morpheus returns to Zion and addresses the assembled multitude--an audience that looks like a mosh pit crossed with the underground slaves in "Metropolis." After his speech, the citizens dance in a percussion-driven frenzy, which is intercut with Neo and Trinity (Carrie-Anne Moss) having sex. I think their real bodies are having the sex, although you can never be sure.
The third sensational sequence is a chase involving cars, motorcycles and trailer trucks, with gloriously choreographed moves including leaps into the air as a truck continues to move underneath. That this scene logically takes place in cyberspace does not diminish its thrilling 14-minute fun ride, although we might wonder--when deadly enemies meet in one of these virtual spaces, who programmed it? (I am sure I will get untold thousands of e-mails explaining it all to me.)
I became aware, during the film, that a majority of the major characters were played by African Americans. Neo and Trinity are white, and so is Agent Smith, but consider Morpheus; his superior Commander Lock (Harry Lennix); the beautiful and deadly Niobe (Jada Pinkett Smith), who once loved Morpheus and now is with Lock, although she explains enigmatically that some things never change; the programmer Link (Harold Perrineau); Link's wife, Zee (Nona Gaye), who has the obligatory scene where she complains he's away from home too much, and the Oracle (the late Gloria Foster, very portentous). From what we can see of the extras, the population of Zion is largely black.
It has become commonplace for science fiction epics to feature one or two African-American stars, but we've come a long way since Billy Dee Williams in "Return of the Jedi." The Wachowski brothers use so many African Americans, I suspect, not for their box-office appeal, because the Matrix is the star of the movie, and not because they are good actors (which they are), but because to the white teenagers who are the primary audience for this movie, African-Americans embody a cool, a cachet, an authenticy. Morpheus is the power center of the movie, and Neo's role is essentially to study under him and absorb his mojo.
The film ends with "To Be Concluded," a reminder that the third film in the trilogy arrives in November. Toward the end, there are scenes involving characters who seem pregnant with possibilities for Part 3. One is the Architect (Helmut Bakaltis), who says he designed the Matrix and revises everything Neo thinks he knows about it. Is the Architect a human, or an avatar of the Machines? The thing is, you can never know for sure. He seems to hint that when you strip away one level of false virtual reality, you find another level beneath. Maybe everything so far is several levels up?
Stephen Hawking's A Brief History of Time tells the story of a cosmologist whose speech is interrupted by a little old lady who informs him that the universe rests on the back of a turtle. "Ah, yes, madame," the scientist replies, "but what does the turtle rest on?" The old lady shoots back: "You can't trick me, young man. It's nothing but turtles, turtles, turtles, all the way down."
So I'm a fool if I like it, then the best movie critic in the world also likes it, he has it on his best movie list of 2003 and So do I
It was a good movie. Middle-movies in trilogies, however, have inherent problem with story-telling in my opinion. They can't introduce us our main heros, nor can they give us a distinct ending. It was fun, if somewhat dumbed down from the first. I enjoyed the architect scene, and the main car chase is borderline revolutionary.
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SB......With everyone's choices almost the same, I am interested in seeing yours. I know you said it is too early to decide, but can you list just a few of your favorites so far?
Which?
And for the record Ezikiel, I couldn't care less if Roger Ebert liked The Matrix Reloaded. Roger Ebert isn't the definitive voice of movie lovers the world over. He is Roger Ebert. You are you. I am me. To each his own, for Christ's sake.
Originally Posted by The Silver Bullet
Do you want films released in America in 2003, or films that I saw in the Australian cinemas this year? The latter is simple. The former is more difficult.
Which?
Which?
Your choice SB. I just wanna know your faves.
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Originally Posted by The Silver Bullet
And for the record Ezikiel, I couldn't care less if Roger Ebert liked The Matrix Reloaded. Roger Ebert isn't the definitive voice of movie lovers the world over. He is Roger Ebert. You are you. I am me. To each his own, for Christ's sake.
I don't know though.
Originally Posted by The Silver Bullet
You are you. I am me. To each his own, for Christ's sake.
Hooray for henry. I wish to agree with he and say tis a good middle of a trilogy. The morpheus speeches were pretty hammy (which could be what the bros wanted us to see), but the highway was cool and the tricks well unspooled. And even if it's turtles all the way down we should all know fairly soon.
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BEST FILMS SEEN IN 2003 [IN THEATRES]
01. Punch-Drunk Love [2002 | Anderson] A+++
02. The Quiet American [2002 | Noyce] A++
03. Bowling for Columbine [2002 | Moore] A++
04. Igby Goes Down [2002 | Steers] A++
05. The Pianist [2002 | Polanski] A++
BEST FILMS OF 2003 [THUS FAR]
01. Terminator 3: Rise of the Machines [2003 | Mostow] A
02. Bruce Almighty [2003 | Shadyac] B+
03. Charlie's Angels II: Full Throttle [2003 | McG] C+
04. The Matrix Reloaded [2003 | Wachowski] C+
As you can see, in comparing my lists, it is really much too early for a person like me to be making a list. With the exception of, say, The Lord of the Rings films, if a film gets a world-wide release on the same day, the chances are it's not the sort of film you'll find on my final list each year [which I can't even compile until about June the following year anyway...]
01. Punch-Drunk Love [2002 | Anderson] A+++
02. The Quiet American [2002 | Noyce] A++
03. Bowling for Columbine [2002 | Moore] A++
04. Igby Goes Down [2002 | Steers] A++
05. The Pianist [2002 | Polanski] A++
BEST FILMS OF 2003 [THUS FAR]
01. Terminator 3: Rise of the Machines [2003 | Mostow] A
02. Bruce Almighty [2003 | Shadyac] B+
03. Charlie's Angels II: Full Throttle [2003 | McG] C+
04. The Matrix Reloaded [2003 | Wachowski] C+
As you can see, in comparing my lists, it is really much too early for a person like me to be making a list. With the exception of, say, The Lord of the Rings films, if a film gets a world-wide release on the same day, the chances are it's not the sort of film you'll find on my final list each year [which I can't even compile until about June the following year anyway...]
The main reason I disliked Reloaded was that the set pieces looked too fake. The Burly Brawl looked so bad. It looked like a set that was made to look like a park and I hate the reason that is always given for that. "But its in the matrix so its meant to look a bit off"
I am going to wait until after Revolutions to comment on the story.
I am going to wait until after Revolutions to comment on the story.