ORIGINAL TITLE
The Matrix
ORIGINAL LANGUAGE
en,
Movie The Matrix Description
Build in the twenty second century, The Matrix tells the myth of a computer hacker who joins a community of underground insurgents stopping the good and noteworthy computer systems who now rule the earth.
YEAR
1999
PRODUCTION COUNTRY
United States of The usa
PRODUCTION COMPANIES
Village Roadshow Photos,Groucho II Movie Partnership,Silver Photos,Warner Bros. Photos
CAST
- Thomas A. Anderson / Neo: Keanu Reeves
- Morpheus: Laurence Fishburne
- Trinity: Carrie-Anne Moss
- Agent Smith: Hugo Weaving
- Cypher: Joe Pantoliano
- Tank: Marcus Chong
- Dozer: Anthony Ray Parker
- Mouse: Matt Doran
- Oracle: Gloria Foster
- Switch: Belinda McClory
- Agent Brown: Paul Goddard
- Agent Jones: Robert Taylor
- DuJour: Ada Nicodemou
- Apoc: Julian Arahanga
- Rhineheart: David Aston
- Choi: Marc Aden Grey
- Priestess: Deni Gordon
- Spoon Boy: Rowan Witt
- Doable: Eleanor Witt
- Doable: Janaya Pender
- Doable: Adryn White
- Doable: Natalie Tjen
- Lieutenant: Bill Younger
- FedEx Man: David O’Connor
- Businessman: Jeremy Ball
- Lady in Crimson: Fiona Johnson
- Archaic Man: Harry Lawrence
- Blind Man: Steve Dodd
- Security Guard: Luke Quinton
- Guard: Lawrence Woodward
- Cop Who Captures Neo: Michael Butcher
- Enormous Cop: Bernard Ledger
- Cop: Chris Pattinson
- Cop: Robert Simper
- Parking Cop: Nigel Harbach
- Shaylea: Rana Morrison
- Doable: Tamara Brown
CREW
- Executive Producer: Barrie M. Osborne
- Producer: Joel Silver
- Casting: Mali Finn
- Executive Producer: Bruce Berman
- Stunts: Todd Bryant
- Editor: Zach Staenberg
- Normal Music Composer: Don Davis
- Costume Assistant: Michael Wilkinson
- Costume Build: Kym Barrett
- Build Dressmaker: Deborah Riley
- Director of Photography: Bill Pope
- Executive Producer: Erwin Stoff
- Executive Producer: Andrew Mason
- Creator: Lilly Wachowski
- Creator: Lana Wachowski
- Casting: Shauna Wolifson
- Production Build: Owen Paterson
- Art work Direction: Hugh Bateup
- Art work Direction: Michelle McGahey
- Build Decoration: Lisa Brennan
- Supervising Sound Editor: Dane A. Davis
- Music Editor: Zigmund Gron
- Stunt Coordinator: Glenn Boswell
- Assistant Art work Director: Jules Cook dinner
- Particular Effects Supervisor: Steve Courtley
- Stunts: Ray Anthony
- First Assistant Director: James McTeigue
- Stunt Double: Chad Stahelski
- Fight Choreographer: Woo-Ping Yuen
- Sound Effects Editor: David Grimaldi
- 2d Unit Director of Photography: Ross Emery
- Co-Producer: Dan Cracchiolo
- Assistant Editor: Tom Costain
- Affiliate Producer: Richard Mirisch
- Stunt Double: Nash Edgerton
- Stunts: Scott McLean
- Affiliate Producer: Carol Hughes
- Stunts: Richard Boué
- Assistant Sound Editor: Frank Long
- Assistant Sound Editor: David McRell
- Dialogue Editor: Charles W. Ritter
- Visible Effects Supervisor: John Gaeta
- Sound Effects Editor: Julia Evershade
- Coloration Timer: David Orr
- Stunts: Chris Mitchell
- Stunt Double: Shea Adams
- Stunts: Warwick Younger
- Stunts: Steve Morris
- Scenic Artist: Peter Collias
- Foley Artist: John Roesch
- Rigging Gaffer: Stephen Johnstone
- First Assistant Director: Colin Fletcher
- Stunt Double: Nigel Harbach
- Stunts: Tony Lynch
- Sound Effects Editor: Eric Lindemann
- Sound Re-Recording Mixer: David E. Campbell
- Foley Artist: Hilda Hodges
- Sound Re-Recording Mixer: Gregg Rudloff
- Sound Re-Recording Mixer: John T. Reitz
- Dialogue Editor: Susan Dudeck
- Assistant Sound Editor: Barbara Delpuech
- Build Dressmaker: Jacinta Leong
- Assistant Art work Director: Fiona Scott
- Build Dressmaker: Sarah Gentle
- Build Dressmaker: Judith Harvey
- Restful Photographer: Jasin Boland
- Steadicam Operator: Robert Agganis
- Gaffer: Reg Garside
- Particular Effects: Thomas Van Koeverden
- Rigging Gaffer: Miles Jones
- Assistant Editor: Basia Ozerski
- Publicist: Fiona Searson
- Hairstylist: Cheryl Williams
- Assistant Art work Director: Tony Williams
- Foley Mixer: Carolyn Tapp
- First Assistant Editor: Peter Skarratt
- Visible Effects Editor: Kate Crossley
- Stunts: Johnny Hallyday
- Stunts: Harry Dakanalis
- Key Make-up Artist: Nikki Gooley
- Particular Effects Supervisor: Brian Cox
- Foley Mixer: Mary Jo Lang
- Property Master: Lon Lucini
- Script Supervisor: Victoria Sullivan
- Stunt Double: Annette van Moorsel
- Stunts: Alex Kuzelicki
- Make-up Artist: Deborah Taylor
- Armorer: John Bowring
- Music Editor: Lori L. Eschler
- First Assistant Sound Editor: Nancy Barker
- First Assistant Editor: Catherine Toddle
- First Assistant Editor: Noelleen Westcombe
- Popularity Supervisor: Peter Lawless
- Particular Effects: Lloyd Finnemore
- Assistant Editor: John Lee
- Build Decoration: Tim Ferrier
- Assistant Editor: Jenny Hicks
- Digicam Operator: David Williamson
- Assistant Unit Supervisor: Grayden Le Breton
- First Assistant “A” Digicam: David Elmes
- Costume Supervisor: Lyn Askew
- Stunts: Brett Praed
- Stunts: Brian Ellison
- Foley Editor: Valerie Davidson
- Art work Division Coordinator: Trish Foreman
- Build Dressmaker: Godric Cole
- Build Dressmaker: Andrew Powell
- Build Decoration: Marta McElroy
- Sound Recordist: David Lee
- Improve Operator: Jack Friedman
- Improve Operator: Gerry Nucifora
- Particular Effects Coordinator: Robina Osbourne
- Production Coordinator: Megan Worthy
- Particular Effects: Rodney Burke
- Adversarial Cutter: Mo Henry
- Dolly Grip: Mal Gross sales space
- Costumer: Andrea Hood
- Particular Effects: Paul Gorrie
- Particular Effects: Walter Van Veenendaal
- Particular Effects: David Younger
- Stunts: Greg Blandy
- Stunts: Dar Davies
- Stunts: Phil Meacham
- Stunt Double: Darko Tuscan
- Stunts: Mick Van Moorsel
- Dialect Coach: Suzanne Celeste
- Dolly Grip: Michael Vivian
- Particular Effects: Lou Stefanel
- Key Grip: Jay Munro
- ADR Mixer: Thomas J. O’Connell
- Dolly Grip: Aron Walker
- 2d Assistant Director: Tom Read
- Key Grip: Ray Brown
- Rigging Gaffer: Colin Wyatt
- Particular Effects: Pauline Grebert
- Particular Effects: Arran Gordon
- 2d Assistant Director: Noni Roy
- Third Assistant Director: Paul Sullivan
- Rigging Gaffer: Paul Cumming
- Stunts: Marijke Rikki van Gyen
- Particular Effects: Reece Robinson
- Particular Effects: Ray Fowler
- Stunt Double: Gillian Statham
- Stunts: Lou Horvath
- Stunts: Bernadette Van Gyen
- Production Accountant: Marge Rowland
- 2d Unit First Assistant Director: Toby Pease
- Rigging Gaffer: Paul Moyes
- Stunts: Brit Sooby
- Stunts: Sotiri Sotiropoulos
- Stunts: Nigel King
- Stunt Double: Bob Bowles
- 2d Assistant Digicam: Adrien Seffrin
- Rigging Gaffer: Craig Bryant
- Standby Painter: Jon Stiles
- Standby Painter: Tony Piliotis
- Rigging Gaffer: Ken Talbot
- Particular Effects: David Pride
- Rigging Grip: David Hird
- Dolly Grip: Greg King
- Rigging Gaffer: Chris Loveday
- Props: Fletcher Moules
- Musician: David Shamban
Movie Title: “The Matrix”
Introduction:
In the sphere of cinema, every movie is a a form of introduction, a definite myth in a position to be knowledgeable. The Matrix, the most new addition to this ever-evolving universe, takes its viewers on an unforgettable lag that is rarely any longer unprejudiced visually goal but emotionally profound. As a cinephile, I had the privilege of experiencing this movie and am excited to part my thoughts in this overview.
Space and Storytelling:
“The Matrix” tells a fable that is every intimate and fable in scale. The fable is a rollercoaster of emotions, ranging from heart-wrenching moments to exhilarating triumphs.
What gadgets “The Matrix” aside is its ability to join with the viewers on a deeply emotional level.
The characters are beautifully developed, and their development in all places in the movie is every relatable and bright.
Direction and Cinematography:
The movie is a visible masterpiece, a lawful testomony to the art of filmmaking. The director’s imaginative and prescient is realized with noteworthy precision, making every physique a murals. “The Matrix” cinematography is breathtaking, with scenes that are a feast for the eyes. The employ of coloration, lighting, and camera angles enhances the emotional affect of every scene, making it an immersive trip.
Performances:
The solid of “The Matrix” delivers prominent performances. The supporting forged is equally impressive, including layers to the myth with their noteworthy performing talents. The chemistry between the actors is palpable, and it be a pleasure to see their interactions on display cloak.
Soundtrack and Ranking:
The music in “The Matrix” is a personality in itself. The soundtrack complements the movie’s emotional lag, enhancing the viewers’s connection to the myth. From heart-wrenching melodies to pulse-pounding compositions, the music adds a layer of depth that will likely be lacking in new cinema.
Conclusion:
“The Matrix” is a cinematic gem that transcends the boundaries of the medium. Or no longer it’s a long way a testomony to the vitality of storytelling, art, and human connection.
This movie is a have to-see for someone who appreciates the magic of cinema. This can leave you each emotionally moved and intellectually stimulated, making it a noteworthy addition to the sphere of movie.
Don’t leave out the opportunity to embark on this unforgettable cinematic lag.
So, salvage your tickets, resolve into your seats, and put together to be spellbound by “The Matrix“, a movie that will linger to your thoughts long after the credits roll.
Movie Opinions
- GeekMasher: The Martix is a mountainous example of a movie that will are living for ever or a extremely log time. The parable and belief are out of this world. Keanu Reeves plays his role with command brilliance, the forged became very properly keep together and the graphics are light to in the intervening time amazing. All in all one among the finest motion photos of all time.
- NeoBrowser: Safe this: what if all we know as actuality became, really, virtual actuality? Truth itself is a ravaged dystopia speed by technocrat Artificial Intelligence where humankind vegetates in billions of gloop-stuffed tanks – mere battery packs for the machineworld – being fed this leisurely ’90s VR (identified as The Matrix – you with us right here?) by an unpleasant mountainous cable stuck in the serve of our heads. And what if there became a community of quasi-non secular rebels infiltrating The Matrix with the one real reason of crashing the ruddy mountainous mainframe and rescuing humans from their unknown purgatory? And, howdy, what if Keanu Reeves became their Messiah?
What sounds fancy some net freak’s moist dream is, really, a dazzlingly nifty cut of sci-fi chilly. The Wachowski Brothers (Andy and Larry – final seen dabbling in kinky lesbian noir with the graceful Hotfoot) pulling off something fancy a million masterstrokes . Taking the imprimatur of the net sport, they meld the grungy noir of Blade Runner, the hyperkinetic energies of chopsocky, John Woo hardware and grandiose non secular overtones into William Gibson’s cyberpunk ethos to abolish a brand new glowing for the millennium powered to the thudding beat of techno. And it’s unprejudiced amazing fun. The important thing is the plot of “flo-mo”, a process born from Jap animation, whereby an object in motion is reputedly frozen whereas the camera miraculously spins round it as if time and gravity are on serve. It grants the action (including some killer kung fu which Reeves and crew spent months perfecting) liberty to rob on surreal visible highs. Superhuman feats permissible, useless to scream, in the context of VR as the rebels download Herculean “talents” to fuel their subterfuge. In the interim, the viewers can finest gawp longingly, with its jaws thunking to the cinema floor in unison, as the heroes wrapped in skintight leather, graceful shades and kind designer cheekbones, inch up walls, soar from excessive rises and accelerate by streams of bullets in silken slo-mo. Tron this ain’t.
Without extend reigniting the moribund cyberpunk kind (the kids can not salvage adequate Stateside), this has thrust Reeves from his imploding occupation serve to Elope highs (and laying to relaxation the shocking ghost of Johnny Mnemonic) and stolen a long way more of Vital particular person Wars’ lisp than became belief humanly likely. For all its loony situation, The Matrix is fabulous.
Distinct, the professional Fishburne is depended upon to expound the lion’s part of the script as seer-fancy riot chief Morpheus. Reeves, goal in his newcast slenderness, as Thomas “Neo” Anderson, the hacker turned hope for all mankind (care of some sick-outlined mystical calling) is requested small more than perpetual befuddlement. Esteem Elope, despite the incontrovertible reality that, this movie plays on his iconic seems to be like in desire to his oak-fancy emoting. There could be a fundamental in discovering, too, in the irresistible Carrie-Anne Moss, a majestically wrought mixture of steely no-shit intelligence and rock-chick vivaciousness as fellow tripper Trinity. And Weaving, forged against form, neutralises his Aussie tones to a freaky deadpan, the head of the MiB-styled defence gadget role against the Goth invaders.
And determined, three minutes of put up-movie deliberation and all this sing of the art cyberdevilry is diminished to the purest gobbledygook. That, despite the incontrovertible reality that, is rarely any longer the level. The Matrix is about pure trip; it be been many a moon since the Empire crew absorb spilled out of a cinema actually buzzing with the sensation of a movie, babbling frenetically with the sheer excitement of discovery.
From head to tail, the deliciously ingenious Wachowskis (see them skyrocket) absorb delivered the syntax for a brand new more or much less movie: technically thoughts-blowing, kind merged completely with bellow material and unprejudiced so damn chilly, the usher will absorb to pull you kicking and screaming serve into actuality. That it’s essential bet your backside greenback George by no attain seen this phantom threat coming.
Verdict – The deliciously ingenious Wachowskis absorb delivered the syntax for a brand new more or much less movie: technically thoughts-blowing, kind merged completely with bellow material and unprejudiced so damn chilly.
5/5
– Ian Nathan, Empire Magazine
- StbMDB: It became round 2001 that I first watched this movie and unprejudiced no longer too long ago giving it one more drag, ever since, would no longer alternate the reality for me that this movie is an timeless portion of filmaking. From the characters to the striking and belief-provoking myth, it essentially has the entirety to manufacture an action movie a 10/10 in a book.
- tmdb44006625: Sooner or later got to see this on the titanic display cloak as a consequence of the TIFF Bell Lightbox in swish 35mm. My response: whoa!
On top of that, I became in a space to rob part in a round table discussion over the movie’s technical improvements, thematic philosophies, non secular metaphors, undertones of gender politics, and absolute ass-kicking action. Can a movie be to any extent further perfect?
- Wuchak: ***Brainy, sharp and iconic, but too chilly***
When a Enormous Metropolis computer hacker (Keanu Reeves) feels something is intrinsically monstrous with actuality, a girl with superhuman expertise (Carrie-Anne Moss) informs him that a mysterious man named Morpheus has the solutions (Laurence Fishburne). However he has to smash out the “brokers” who’re pursuing him (e.g. Hugo Weaving) to salvage to Morpheus. At which level his world is turned the opposite plot up and inner out. Marcus Chong and Joe Pantoliano are furthermore in the market.
“The Matrix” (1999) is a cerebral sci-fi/action movie that mixes parts of the fundamental two Terminator flicks (1984/1991) with martial arts action and a routine belief that hails serve to “Vital particular person Scamper: The Circulate Say” (1979) and absolute self perception extra.
To position this intricate movie together and fabricate it sharp took genius, so I give credit score to the Waschowski Brothers, um, I mean sisters (rolling my eyes). The casting is mountainous and Carrie-Anne is goal all over (I usually don’t fancy short hair on ladies, but she’s an exception). For me, despite the incontrovertible reality that, the Waschowskis made it too comedian booky. The posturing characters of their slick black outfits & sun shades converse “Yeah, beautiful.” And the Messiah angle is dilapidated hat.
The movie runs 2 hours, 16 minutes, and became shot in Sydney, Australia, with some exterior scenes completed in Nashville and San Francisco.
GRADE: B
- GenerationofSwine: You had me the moment you stopped Trinity in mod air, spun the camera round her, after which let her voice that vicious kick.
And that became on the delivery of the movie. That became the finest opening ever. That became, when it became 1999 and also you seen it in the theater for the fundamental time, the “WOW” moment that that you just can finest judge is what the of us that were dilapidated adequate to see A Original Hope felt in the theaters serve in 1977.
From the delivery it became unprejudiced thoughts blowingly chilly… after which the soundtrack kick severe butt, and the location, the location became unprejudiced pure science fiction fun!
And it held it, the see, the sci-fi fun, the absolute stylized coolness by out the movie to 1 among the finest climaxes of any 90s movie. It role the excessive water value for sci-fi action.
It became a form of motion photos that re-outlined a kind.
- The Movie Mob: **The Matrix fully modified the landscape of particular results, world-building, and cinematography, cementing itself in the halls of cinema glory as one among the most innovative movies of all time.**
I be unsleeping watching this movie for the fundamental time as a 9-yr-dilapidated and having my thoughts blown wide delivery! After rewatching it nearly 25 years later, this movie is light a groundbreaking and breathtaking masterpiece. It’s hard to judge The Matrix got right here out in 1999 with the usual of results and production it showcases that light extend in many strategies to new movies. However it’s more than the outcomes. The cinematography serves as the eyes of the viewers with suave angles and shots, inserting the viewer beautiful through the action. The editing, sound, and visual results all won Oscars. The combat choreography became as reducing edge as John Wick became in 2014 with its gun-fu. The Matrix created an spell binding and beguiling new universe that demanded to be explored. The neo-goth, noir, and retro aesthetics retain the movie from feeling dated all these years later. Hugo Weaving’s efficiency deserved more acclaim from the Academy because his unhinged Agent Smith is one among the most iconic villains in cinematic history. The Matrix impacted Hollywood and culture in a attain that left it eternally modified. The Matrix is a pillar of cinema and one among the finest movies of all time.
- The Movie Mob: **The Matrix fully modified the landscape of particular results, world-building, and cinematography, cementing itself in the halls of cinema glory as one among the most innovative movies of all time.**
I be unsleeping watching this movie for the fundamental time as a 9-yr-dilapidated and having my thoughts blown wide delivery! After rewatching it nearly 25 years later, this movie is light a groundbreaking and breathtaking masterpiece. It’s hard to judge The Matrix got right here out in 1999 with the usual of results and production it showcases that light extend in many strategies to new movies. However it’s more than the outcomes. The cinematography serves as the eyes of the viewers with suave angles and shots, inserting the viewer beautiful through the action. The editing, sound, and visual results all won Oscars. The combat choreography became as reducing edge as John Wick became in 2014 with its gun-fu. The Matrix created an spell binding and beguiling new universe that demanded to be explored. The neo-goth, noir, and retro aesthetics retain the movie from feeling dated all these years later. Hugo Weaving’s efficiency deserved more acclaim from the Academy because his unhinged Agent Smith is one among the most iconic villains in cinematic history. The Matrix impacted Hollywood and culture in a attain that left it eternally modified. The Matrix is a pillar of cinema and one among the finest movies of all time.
- CinemaSerf: “Thomas Anderson” is a nerdy boy by day, and an enigmatic hacker “Neo” by evening. His latter persona is constantly hard his norms, his behaviour, his actuality even – and when he is contacted by Carrie-Anne Moss “Trinity” his suspicions delivery to pan out and he is introduced to a crew of rebels led by “Morpheus” (Laurence Fishburne) on a mission to present the extent to which mankind is merely a plaything of the “Matrix” living fully imagined lives. The gadget is onto them, despite the incontrovertible reality that, and the utilization of Hugo Weaving’s “Agent Smith” and a fifth columnist from in all places in the community’s absorb ranks, is zigzag on their destruction. This movie has that scarce price of getting appealing (in desire to delicately choreographed) action scenes married along with an intellectual, at instances moderately belief-provoking dialogue mixing reality/fiction and religiosity on a suave premiss that after we delivery to search records from actuality; the conspiracy theories can speed wild – and beautiful to the head! Is “Neo” the one to establish humanity – some form of resurrected “one”? The Wachowski Brother remind us be taught how to manufacture a smartly suited sci-fi fable, but furthermore that in his day Keanu Reeves became a one among the finest, his boy-next-door smartly suited seems to be like, agility and charisma working very properly right here. For certain the outcomes absorb dated, but one it’s essential perchance perchance had been subsumed into the location – and will absorb to it’s essential perchance perchance perchance even be watching on a titanic display cloak – then that issues no longer; it be a tantalizing chunk of cinema depicting loyalty, chance and integrity that I no doubt enjoyed.
Credit score: TheMovieDb