movie critic

Student’s Name

Date

The Matrix

Sample of Critique 2

1. List the name(s) of the Director, 2 leading actors and the names of their

characters. (5 pts)

Directors: Larry and Andy Wachowski

Keanu Reeves: Thomas Anderson/Neo

Laurence Fishburne: Morpheus

2. Give a plot synopsis.

(Name leading characters and major action in one page) (10 pts)

Thomas Anderson, a computer programmer bored with his life and job spends

his nights as a nefarious hacker with the code name Neo. He pursues the

question “What is the Matrix?” His quest leads him to Morpheus, the leader of a

band of rebels who believes that Neo is “The One” who can defeat the machines

and their Matrix to free all mankind. With his help Neo “unplugs” and begins his

journey to find his own destiny. Reentering the Matrix with the rebels Neo meets

with The Oracle who tells him he is not The One because he seems to be waiting

for something and that he will have to choose between saving Morpheus’ life or

his own. Neo, Morpheus, Trinity (a beautiful woman with whom Neo falls in love)

and three other rebels are betrayed to the “Agents” by one of their own, Cypher.

As a result Switch, Mouse and Apoc are killed and Morpheus is captured. Neo

chooses to rescue Morpheus even though Neo may die in the attempt. He

believes that his human unpredictability will give him an edge. Neo and Trinity

accomplish the impossible in the computer generated world of the Matrix and do

rescue Morpheus. During the rescue Neo realizes that he no longer waiting for

something as the Oracle predicted and that he is The One. As Morpheus tells

him, “There’s a difference between knowing the path and walking the path.” With

his new found confidence Neo fights Agent Smith who shoots him in the chest.

Neo believes he is dying but somewhere between the Real World and the Matrix

he hears Trinity’s words of love and chooses to live. When he rises in the hallway

of the Matrix where he transcends death he sees the Matrix for what it is, defeats

Agent Smith and fulfills his destiny to become “The One.”

3. State the theme.

(State in 1 sentence then defend in a following paragraph) (5 pts)

“Create the path of your own destiny and have the courage to walk it.”

When “living” in the Matrix Neo knew that he was destined for more and even

when freed from the Matrix by Morpheus who believed that Neo was “The One”,

the savior of mankind, it wasn’t until Neo had to save those he loved (Morpheus

and Trinity) that Neo found the power within himself to act. At that point Neo

became “The One”. As Morpheus tells him, “There’s a difference between

knowing the path and walking the path.”

4. Discuss one symbol.

(State as “this symbolizes that” then explain what it represented and why it was important

to the film.) (5 pts)

Neo symbolizes the savior of mankind, a Christ figure.

He is unknown until his early thirties although he has always questioned and

excelled at those areas that matter most to him. He is humble, loyal to those

around him, willing to sacrifice himself for what he believes in and ultimately

defeats the evil that man has created out of his own pride and arrogance.

(Only 1 symbol is required but here are two other examples)

The rebel ship, the Nebuchadnezzar symbolizes sanctuary.

The name is derived from an ancient Babylonian king and means “protects the

eldest son”. The ship is the only protection the fragile humans have in the

dangerous, toxic environment of the machines. Neo as “The One” would be the

eldest son.

Morpheus symbolizes the dream of freedom for humanity.

In the ancient world “Morpheus” was the Greek god of dreams. He could change

shape or create dreams for mortals to find their true path. Morpheus of this film

wakes Neo from his long sleep within the Matrix and becomes his mentor. He

educates, protects and pushes Neo to find his true path and walk it.

5. Choose one scene and discuss the director’s camera choices detailing shot length and camera angle. How did these choices reinforce the importance of the shot and the meaning of the film? (15 pts)

https://youtu.be/Lweuy1X9Tcg

The “they’re coming for you” scene happens the morning after Neo met Trinity at

the club (about twelve minutes into the film) when he is contacted by Morpheus.

The scene begins with a fade in from black to establish a new day to a slow dolly

to the left to view the opening in Neo’s cubicle at his job as a computer

programmer. The camera is set at a low angle on the dolly (which usually gives

strength to the character) in a close-up of (which makes the audience like or in

this case dislike) the boring, gray fabric wall of the cubicle but when the dolly

passes the opening to the cubicle to reveal Neo sitting at his computer the shot

length changes to a long shot which provides information about his sterile,

impersonal space but prevents the audience from identifying with Neo.

Continuing in the same shot a delivery man steps into the doorway on camera

right to ask, “Thomas Anderson”? The shot cuts to a medium low angle of Neo

looking up at the off camera courier who enters the cubicle cutting across the

shot to deliver the package. After Neo signs for the package it cuts to the low

angle long shot again to show Neo receiving the package and the courier

leaving. As he crosses the camera again it cuts to a medium low angle shot of

Neo opening the package. So far the camera movement, shot lengths and editing

have been slow and long to reinforce the boring nature of Neo’s work life.

However, when he opens the package and slides out the contents the

camera cuts to a high angle close-up of a state-of-the art (for 1999) cell phone

which creates interest in the unknown origin of the object without giving it power.

It immediately rings and the camera pans quickly left shifting into a low angle to

follow the phone as Neo stares at it which brings Neo into the background.

However, the low angle, close-up focus remains on the cell phone giving it power

and importance with Neo’s face and the rest of the room remaining out of focus.

Cutting to the previous low angle, long shot from the door of the cubicle Neo

answers the phone and cuts to the same low angle medium shot when he hears

Morpheus’ voice for the first time. Without a cut (in the same shot) the camera

dollies quickly left as Neo turns right and moves into a slightly low angle close-up

of Neo. This brings the audience into the scene, gives Neo importance and

quickens the pace for the first time. Morpheus tells Neo that “they” are coming for

him and instructs him to stand up slowly which the camera follows. Cutting to a

Point of View shot (which allows the audience to see and experience what Neo

does) the camera raises slowly over the edge of the cubicle wall to see three

agents in a long shot across the office talking with a young woman who points

toward the camera and as the agents turn to stare in Neo’s direction the scene

cuts to a full shot of Neo crouching down quickly to avoid being seen. Morpheus’

voice-over phone conversation continues as an extreme low angle (giving the

agents authority) dolly shot (allowing the audience to move with them) precedes

the agents as they stride through the cubicle aisles toward Neo. The cut back to

Neo in the cubicle is an extreme high angle (making Neo weak and vulnerable)

that is wide enough for him to move back and forth like a caged animal. In the

subsequent action as Neo follows Morpheus’ instructions to move quickly to the

next cubicle, then through the aisles to the office on the corner the camera

moves in a low angle position which puts us eye level with Neo’s crouching form.

We are encouraged to connect with him and to experience the danger of his

situation.

When he enters the office and closes the door the camera is in a high

angle position again establishing that Neo is in danger but maintains the same

position when Neo stands and walks toward the camera which then puts him at

eye level. With no cut the camera pans left to see the scaffolding Morpheus is

describing on the phone and then pans back right to Neo. After the quick cuts of

the chase through the cubicles the lack of cuts in this scene slows the pace and

allows Neo and the audience some time to think. The entire scene in the office is

in one take. Not until Neo steps out onto the ledge is there a cut to a slightly high

angle (still in danger) close-up (the audience cares) as Neo looks over the edge

the camera follows his vision out and down over the edge to reveal the ground

fifty stories below. Still without a cut the camera pans back to Neo in a low angle

(as though looking from the ground far below) and follows him as he walks

across the ledge. It cuts to a POV of the scaffolding allowing the audience to see

Neo’s challenge, then cuts to the same low angle medium shot as a gust of wind

blows the cell phone out of his hand. Using “bullet time” we see the cell phone in

momentary slow motion as it falls toward the ground. Cutting back to the low

angle medium shot as Neo grabs the metal column between him and the

scaffolding Neo decides that he can’t do it. We do not see him captured. Instead,

there is a cut to a street level shot when the agents bring Neo out to a waiting

car. There’s no fade or wipe to indicate the end of the scene.

6. Choose one scene and discuss the design of the visual elements detailing the choices made in scenery, costumes, props and lighting. How did these choices reinforce the importance of the shot and the meaning of the film? (15 pts)

https://youtu.be/lPOXR4dXxDQ?t=5m40s

Thirty-eight minutes into the film in the scene entitled, “The Real World”

Morpheus introduces Neo to the real world and explains the Matrix. It’s a

wonderful scene to describe the visual elements because they show both the

“Real World” and the “Matrix World” in one scene. Morpheus and Neo walk

through the Nebuchadnezzar meeting the crew. The scenery includes the ship

which is entirely metal but worn and cobbled together. The space is small and

the ceiling is often shown to keep the humans enclosed. It is dark with deep

shadows, like the secrets the humans can keep in the real world. There are

occasional flashes of color like the blue of monitor screens, orange electrical

cables, red warning lights and the worn blue leather of the chair in which Neo sits

when he is connected to the Construct but these colors are small accents with

the dominant color being a cold, dark metal gray or black. There’s no attempt to

hide cables, to make anything look sleek and there are no personal objects to

decorate any surface. The walls, floors, furnishings are metal, practical, worn and

serve a purpose. The props are also practical tools like Trinity’s welding helmet

and gloves. Again, there are no personal tokens. The lighting is dim and

generalized. No real space or area has focus. Because of the fluorescent lighting

and reflected light of the monitors the dominant lighting color is blue which

reinforces the “cold” environment of the real world. Again, the lack of bright

lighting creates shadows everywhere. The clothing like the scenery is practical,

worn and serves a purpose. The crew wears hand-made clothing mostly in

shades of blue-gray. The fabrics are rough and the garments lack shape unlike

the form-fitting black leather they wear in the Matrix. In the “real world” Neo

wears a gray oval-necked undershirt with a darker gray long sleeve knitted

sweater over it. The sweater has a worn spot on the front neckline showing that

this is a hand-me-down from someone else. Nothing in the real world is new. The

gray of his clothing contrasts with the rosy color of his skin emphasizing his

humanity. Morpheus wears a worn, dirty ivory colored tunic. The woven fabric

includes a pin wale stripe like corduroy which gives Morpheus’ clothing more

interest and strength. The lightness of the color contrasts with his surroundings

and with the rest of the crew allowing Morpheus to stand out as the leader. His

head is bald and shiny. Neo’s hair is closely shorn showing scars on his head

and neck. Both Morpheus and Neo have round portals on their neck and arms

where the tubes were attached when they were “in” the Matrix. The costumes for

each of the characters make them look vulnerable in the real world reinforcing

the reality that they are barely surviving.

https://youtu.be/AGZiLMGdCE0

However, once Morpheus and Neo are loaded into the “Construct” there is no

scenery – only white. Reinforcing the fact that the Construct is a computer

loading program there is no floor or walls; only a TV remote sitting on a small

round table in front of a 1960’s television set and the two red leather tufted chairs

that were used in the scene when Morpheus offered Neo the red pill. This

“conversation group” sits alone in the center of the white space giving it focus

and importance. It is made inviting by the use of repeated curves: the round table

top with curved legs, the curved wings on the chair back and arms and the

rounded edges on the television screen. Since the chairs are a warm dark red

they contrast sharply with the surrounding white but they also provide a warm

background for Morpheus when he sits back in the chair while describing the

history between the humans and the machines. The props from this scene are

realistic. The television remote which is old by 1999 standards matches the

wooden 1960’s set. The “copper top” battery is immediately identifiable to the

audience even though we don’t see the product name. The lighting is bright white

light with no specific direction so that everything is fully visible reinforcing that

nothing is hidden in the Matrix. Perhaps that is why Morpheus always wears

opaque pince-nez sunglasses when he is “in” the Matrix – it’s a way for him to

hide the truth behind his eyes. In the rest of the film Morpheus and Neo wear

black leather clothing in the Matrix, but not in this scene. Morpheus wears a

brown suit with a dark green shirt and a light green tie with a small round tie pin.

Neo wears a dark green tee shirt with a soft, dark brown zippered jacket, dark

jeans and light brown suede boots. Although green is a cool color, it is also a

natural color – a color of nature, as is brown. Morpheus is introducing Neo to the

special uniqueness of his humanity and they both wear natural colors. This scene

is a wonderful juxtaposition of what is “real” and what is not.

7. Choose one Archetype and one Stage from the Hero’s Journey and describe how they interact with the Hero. Where does the interaction happen in the film (both location and place in the script)? Why is the interaction important? What specifically happens? (15 pts)

The Hero in The Matrix is Neo. He drives the action and changes from “I” to “We”

when he chooses to save Morpheus and is willing to die (“the ultimate sacrifice”)

to accomplish his goal.

Although Neo has been searching for the mysterious “Morpheus” it is Morpheus

who contacts and rescues Neo from the Matrix becoming his Mentor.

Morpheus trains Neo how to manipulate the Matrix and gives him the “magic gift”

of the red pill which allows Neo to enter the “Special World”. Arguably a less

tactile, yet essential “magic gift” is Morpheus’ confidence that Neo is “The One”.

Even when Neo doesn’t believe it himself, he respects and therefore acts upon

Morpheus’ belief that he is humanities’ savior.

As the Mentor Morpheus offers Neo his “Call to Adventure” when he guides Neo

literally to the edge of the fifty story building and gives Neo the choice of whether

to accept or refuse. Neo “Refuses the Call” and is captured by the Agents.

Morpheus is also there to help Neo to “Cross the Threshold” into the special

world which is represented by going literally “through the looking glass”. The

Hero/Mentor relationship between Neo and Morpheus is sustained through three

films and ultimately, in an unusual twist on tradition (like much of the series) it is

the Hero who dies in the final film leaving the Mentor to live without him.

8. Describe the specific use of each the following and how they affect the mood and rhythm of the film. (Discuss each in an individual paragraph citing 1 specific example for each. (15 pts)

Sound Effects (Foley or design effects and effect they have on scene):

Sound effects establish a variety of actions and events both in the real world and in

the Matrix. The audience hears an electronic buzzing when an Agent takes over a

human in the Matrix. This sound effect is used often enough that eventually the

audience doesn’t need to see the transformation. As Neo runs through a kitchen at

the end of the film chased by the three agents he sees a gray-haired woman holding

a butcher knife by a stove. The camera cuts back to Neo opening the back door in

the kitchen and we hear the buzzing transformation sound effect as the knife embeds

in the doorframe by his head, immediately the camera cuts back to Agent Smith

standing where the gray-haired woman had been his hand poised in mid toss of the

knife. Because of the sound effect the audience knows without seeing it that Smith

transformed the woman. Many of the sound effects are directly related to sounds

common to 1999: the “ringing” of the land line telephones, the clicking of the keys of

the data machines and the dial-up sounds of phones connecting to the internet are

some examples.

Music (Describe instrumentation, rhythm and effect they have on scene)

Music plays an important role in creating tension. When a scene takes place

inside the Matrix the music is often electronic whereas in the real world generally

real world instruments are used. Music plays a pivotal role in the final battle

between Neo and Agent Smith. As Neo runs down the hall a combination of

horns and the rhythmic drumming of metal pipes pound beneath the persistent

high pitched ringing of a phone creating anticipation. The staccato tremolo of the

violins increases the tension until Neo opens the door.

https://youtu.be/8m_qMDOQIcI

The music stops abruptly in a moment of contrasting silence as a gun fires. It

echoes and the spent casing tinkles gently on the concrete floor. The violins

begin their tremolo again in a lower pitch and are joined by horns as Agent Smith

empties his clip into Neo’s chest. The music holds these dangerous tones until

Neo slumps down the wall dying in the Matrix and exhales as he apparently dies

in the real world. But, the deaths lack a sense of finality because the music

continues gently. After Trinity declares her love and Neo rises, stops the bullets

fired by the agents and “sees” the green running lines of code that is the Matrix

the music attains a lofty, spiritual air with the addition of human voices to the

music that is reminiscent of “Also Sprach Zarathustra” from 2001: A Space

Odyssey reinforcing humanities’ triumph over the machines.

Editing (Method of transition-cut, dissolve, etc., length, use of sound or music in transition)

As an action, Sci-Fi film the editing of The Matrix is generally involves quick cuts

into, out of and within scenes following Neo’s emotional state. Often sound

effects are used to transition between scenes.

https://youtu.be/jXeF1rMkpQw?t=1m56s

At the start of the film Neo meets Trinity at a club. The electronic music is loud

and Trinity leans close to Neo’s ear and whispers, “the answer is out there, Neo,

it’s looking for you and it will find you if you want it to”. Trinity leaves Neo

intrigued as the volume of the electronic music increases underscored by the

introduction of a new pounding sound. Suddenly the music stops but the

pounding continues transforming into the alarm of a digital clock at the start of

the next scene. Neo overslept and is now late for work.

The next scene exemplifies how the pace of the editing allows us to experience

what Neo does. Neo sits in his bland, boring cubicle as a courier delivers a cell

phone which immediately rings. From this point on the length of the camera shots

shorten and the pace of the scene quickens. The editing cuts between a high

angle long shot making Neo look weak and an eye level, medium shot which

allows us to feel his vulnerability in this dilemma. As Morpheus leads Neo away

from the Agents the length of the takes become shorter building tension until he

reaches the safety of the office at the end of the hall. We see him enter and lock

the door in an extreme high angle (again vulnerable) but then he stands and the

shot becomes an eye level (we’re in this with him) where it remains for the rest of

the scene. The camera pans and moves with Neo as he listens to Morpheus on

the phone and chooses what to do. There is only one cut in the entire scene.

Because of the editing we are allowed time to breathe and think with Neo.

9. Critique the film using Goethe’s three questions. (As an exercise in critical thinking the discussion of each question should be separated into individual paragraphs and collectively they should be at least 1 page in length. Refer back to Chapter 1- Introduction for suggestions about answering these questions (15 pts)

What was the Artist trying to do?

The Wachowskis presented their view of a possible future dystopia using a

science fiction action adventure and Kung Fu fighting film. By pitting the comfort

and ease offered by a life run by machines versus the dirt and danger of reveling

in our humanity The Matrix asks questions that our society must contemplate as

we rely more and more on machines. The film suggests that we create the path

of our own destiny and we must have the courage to walk it.

How well did they do it?

Exceptionally well. The Matrix dealt with issues that continue to face society

today, issues about technology and its place in our lives. The script created a

world entirely familiar to the audience with distinct and important differences – it

was all a lie and nothing was real. By turning “what we know” on its head the

audience doesn’t really know what to expect. The film was well cast with actors

(Keanu Reeves, Lawrence Fishburne and Carrie Ann Moss) who could

convincingly make the audience believe that they could create action that’s

impossible (i.e. “bullet time”). There’s a chemistry between them that they

sustained through this film and two sequels. The diametrically opposed design of

the world in the Matrix versus the real world reinforced the choice the directors

believed the audience must make in their own lives – the choice of what it right

versus what is easy. The sound and editing choices created tension from

beginning to end. The film itself moved special effects forward creating “bullet

time”. The Wachowskis created two worlds of equal validity. The world of the

Matrix looks frighteningly like our own but the sparsity and coldness of their “real

world” is not inviting. They created the visual representation of what a digital

world would look like or what our computer would see looking at our world. They

pose the question – where would we chose to live?

Was it worth doing?

Absolutely. The Wachowskis managed to create an entertaining adventure film

that asks fundamental questions not only about society but about man’s

perception of reality. They attacked the philosopher’s question, “If you could live

in a magic box that fully realizes a life for you, a life that is potentially satisfying

and fulfilling would you choose to live there? And which life is reality?” Those

living in the Matrix did not choose to live there, but if that reality is all they have

ever known is it any less a reality? I enjoy films that pose questions and in this

case answers them. The script kept me intrigued and posed philosophical

questions that I pondered for days, even years later. The leading actors created

characters that I found interesting enough to watch in two sequels and the design

and technology created new worlds that other films have imitated for decades.