'Toy Story 4' Review

Apologies for the delay on this review. I was out of town last week and have been preoccupied since returning. However, I've now seen Toy Story 4, Child's Play (2019), and
Yesterday (2019), and anticipate reviewing those films this weekend in addition to Spider-Man: Far From Home and Midsommar early next week.

'Toy Story 4' Review

Nominated For: Best Animated Feature and Best Original Song "I Can't Let You Throw Yourself Away" (written by Randy Newman).
Won: Best Animated Feature.

Synopsis: Woody and the rest of the gang embark on a road trip with Bonnie and a new toy named Forky. The adventurous journey turns into an unexpected reunion as Woody's detour leads him to his long lost friend Bo Peep. As Woody and Bo realize they're worlds apart when it comes to life as a toy, they soon find that's the least of their worries.

Runtime: 100 minutes

MPAA Rating: G

Who should see it? Fans of Pixar and the Toy Story franchise.

Toy Story 4 exists as the fourth entry in a nearly twenty-five-year-old Pixar franchise and director Josh Cooley's first feature film. Throughout its development, various screenwriters were charged with reviving the series, but the screenplay ultimately was penned by Andrew Stanton and Stephany Folsom with story credits shared between John Lasseter, Valerie LaPointe, Rashida Jones, Will McCormack, and Martin Hynes as well as Cooley, Stanton, and Folsom. It would be an understatement to say I was skeptical about a continuation of Pixar's touchstone franchise. 

Though unwise to underestimate Pixar, Toy Story 4 seemed to be an unnecessary series extension, and the marketing material didn't inspire confidence. Pixar's recent sequel craze has resulted in a series of entertaining, but fairly forgettable franchise additions and I was worried Toy Story 4 may fall victim to that, tarnishing the legacy of what I consider a perfect trilogy. The ending of Toy Story 3 carried a bitter-sweet sense of finality, and I doubted the premiere animation studio could justify another installment. Thankfully, I was proven wrong. Toy Story 4 is an ideal epilogue to one of the greatest cinematic trilogies which maintains the series' sense of hilarity, heart, and adventure. 

Every Toy Story installment grapples with what it means to be a toy, exploring that existential thematic ground through a different perspective, time and time again. Though Toy Story 3 seemingly resolved the toy's connection with Andy, Woody requires further closure. Woody' fulfilled his life purpose, so what now? That's the question at the core of Toy Story 4, which can be interpreted as meta-commentary about the franchise itself. This story ended with the third one, right? Why continue? Are creatives and audiences willing to say goodbye to these iconic animated characters? These are questions many will ask concerning this fourth chapter, and they're deeply embedded in the narrative.

As audiences expect from a Pixar production, Toy Story 4 features phenomenal photo-realistic animation with exquisite attention to detail. The textured porcelain, plastic, vinyl, felt, and fabric toy components are particularly well-rendered while character motion is authentically articulated. Beneath it all, Randy Newman's music is the beating heart and soul behind the toy's latest adventure. "You've Got a Friend in Me" is incorporated in a nostalgic montage while "I Can't Let You Throw Yourself Away" and "The Ballad of the Lonesome Cowboy" are charming, old-fashioned earworms. Regarding the score, Newman peppers in familiar franchise motifs along with some excellent new arrangements. 

Carrying over from the previous films, Tom Hanks, Tim Allen, Annie Potts, Joan Cusack, Wallace Shawn, John Ratzenberger, Blake Clark, Don Rickles, Estelle Harris, Jeff Pidgeon, Bonnie Hunt, Kristen Schaal, and Jeff Garlin reprise their respective roles of Woody, Buzz, Bo Peep, and the rest of the gang. Meanwhile, Tony Hale, Keanu Reeves, Keegan-Michael Key, and Jordan Peele are charming, scene-stealing additions to the cast as Forky, Duke Kaboom, Ducky, and Bunny while Christina Hendricks' Gabby Gabby turned out to be a more layered antagonist than expected. The entire voice cast offers ideal interpretations of these characters, but Hanks turns in one of his best vocal performances yet as Woody finds closure amidst whacky shenanigans in an RV, carnival, and antique shop.

One quibble I have is that the original grouping of toys were mostly sidelined in favor of the new characters. Toy Story 4 is Woody's story first and foremost, so this is a logical storytelling choice, but I wish Buzz, Jessie, and the gang were more involved. Otherwise, there were a few gags which quickly wore thin and were a little too repetitive for my liking.

Against all the odds, Toy Story 4 managed to be just as charming, hilarious, and heartfelt as its predecessors. Whether Toy Story 4 concludes the Toy Story series or not, I'm willing to follow this franchise to infinity and beyond.

Film Assessment: A

'John Wick: Chapter 3 - Parabellum' Review

Synopsis: After gunning down a member of the High Table, legendary hit man John Wick finds himself stripped of the organization's protective services. Now stuck with a $14 million bounty on his head, Wick must fight his way through the streets of New York as he becomes a target of the world's most ruthless killers.

Runtime: 130 minutes

MPAA Rating: R (for pervasive strong violence and some language)

Who should see it? Adult fans of action films and the John Wick franchise.

American action films aren't quite what they used to be... A majority of modern action sequences involve extreme close-ups, visceral shaky camera work, and excessive editing to mask subpar stunt-work or diminish well-choreographed set-pieces. Fortunately, former stuntman Chad Stahelski directed all three entries in the John Wick series (though it's worth noting David Leitch co-directed John Wick). Stahelski and Leitch's extensive stunt background aided them in ensuring the focused intensity of involved stunt-work wouldn't be lost in post-production, and I'm pleased to report that degree of attention and care persisted in each of the two successive installments.

Concerning carnage, John Wick: Chapter 3 - Parabellum is no less impressive than its predecessors. I'd daresay Stahelski successfully upped the ante in his third go-around! In Parabellum, John Wick's on the run without access to the amenities usually provided to the network of underworld assassins, so he's forced to use whatever's in his vicinity to survive. Wick brandishes seemingly innocuous items as his weapons of choice because he has no other choice, similarly to the infamous No. 2 pencil scene from John Wick: Chapter 2. I'd prefer not to disclose these utensils since I'm sure you'd rather be astounded in the theater when John Wick takes a guy out of commission with X, but know this leads to some gloriously gruesome kills. You will surely wince as Wick works his way through his assailants.

Of course, it's the technicality behind it all which should be recognized above all else. The stunt performers never let up amidst nearly non-stop action while the cinematography and production design offered an attractive aesthetic. The film is genuinely visually-arresting from start-to-finish on behalf of the fine work from cinematographer Dan Lausten and production designer Kevin Kavanaugh, so hats off to the two of them in addition to the entire crew.

In regards to the screenplay, series screenwriter Derek Kolstad was joined by Shay Hatten, Chris Collins, and Marc Abrams to further the franchise. Before watching Parabellum, I'd suspected it would provide a definitive resolution to the John Wick trilogy. I now know that's not quite true since the door was clearly left open for a sequel and/or spin-off (both of which are supposedly in development). The four writers constantly challenge Wick to adapt to his surroundings and overcome extenuating circumstances, and I loved that element of the story. Wick's physically more vulnerable than ever before with the added complication of being declared "excommunicado" with a $14 M bounty on his head. However, the story's not as tight as I'd hoped since Kolstad and company chose to pursue narrative threads aside from the matter of Wick's struggle to survive. Things quickly become complicated, but it's all authentically complex and true to the nature of the narrative. Otherwise, I liked how they handled exposition so that the dialogue further fleshed out the world and John Wick's past while retaining the sense of mystery surrounding the network of assassins and Wick.

Front and center, Keanu Reeves commits wholeheartedly to the physicality and personality associated with the role. As a weary action hero desperately grasping to the meager remains of his soul, Reeves strikes a delicate balance in portraying the humanity and ferocity of John Wick. The likes of Laurence Fishburne, Lance Reddick, and Ian McShane join Reeves in reprising their respective roles of the Bowery King and Continental employees Charon and Winston. 

Meanwhile, Halle Berry, Jerome Flynn, Mark Dacascos, and Asia Kate Dillon are prime, potent additions to the series. Berry's character Sofia is a stand-out in particular, largely thanks to her firm resolve and two Malinois dogs.

All in all, Parabellum cements John Wick as a blockbuster pillar of American action cinema alongside the likes of the Mission: Impossible franchise. I sincerely hope Hollywood continues to churn out additional entries for both series as long as Tom Cruise and Keanu Reeves are able and willing, because I'll gladly return to the theater time-and-time again! I know two things for sure, though. John Wick: Chapter 3 - Parabellum hit its mark as a killer third chapter, and I'm eager to see what happens once Stahelski, Kolstad, and Reeves regroup and reload for Chapter 4!

Film Assessment: A

'John Wick: Chapter 2' Review

John Wick: Chapter 2 picks up relatively soon after the end of John Wick as John Wick seeks to return to his normal life. Of course that's impossible for men of Wick's talents, so he's dragged back into the fold to repay a debt. A bounty is then placed on Wick and he finds himself in the fight of his life. 

2016 put forth many sequels that no-one wanted and no-one liked, with Star Trek Beyond or Captain America: Civil War standing as the only two sequels that worked in last year's desolate blockbuster wasteland to come to mind. Thankfully, John Wick: Chapter 2 is a sequel that's justified on the merits of the excellent underbelly assassin world-building done in John Wick alone. Chad Stahelski, working solo this time, takes full reigns of the franchise and proves he's quite capable of bearing the full weight of an action blockbuster on his own as he ups the scale of the action sequences.

Stahelski goes for bigger and better but doesn't ignore the importance of the refined intimate "gun-fu" fighting style that made the first so popular. Working alongside cinematographer Dan Lausten, the neon glow and subtle nightlight are properly utilized in framing exceptional action. One thing the Wick franchise should definitely be credited for is its persistence not to resort to shaky-cam but rather show long well-handled takes of brutal hand-to-hand combat and gun escapades. This time around the action set pieces include Roman catacombs, public venues, and a labyrinth of mesmerizing mirrors, each set piece featuring a memorable action sequence or two.

John Wick: Chapter 2 could have easily become virtually a rehash of the original but writer Derek Kolstad manages to think of a way to bring Wick back into the mix that works for the purpose of the film but isn't quite as emotionally driven as the first. Kolstad does however recoup for this by fleshing out more of the mercenary lifestyle; throwing tailors, arms dealers, and accountants into the mix. Practically everything beloved regarding the original is deservedly amplified and further explored to the appropriate extent.

The cast includes a mix of returning characters and fresh faces that put full commitment into the bullet bonanza. Keanu Reeves' portrayal of John Wick as a weary action hero compliments the narrative perfectly. Reeves' silence in some scenes almost speaks louder than words and his physical commitment to the role is virtually unchallenged by actors today, excluding perhaps Tom Cruise. Reeves manages to invest audiences in an unequivocal killing machine by gifting Wick a touch of humanity.

Ian McShane returns as Continental Hotel owner Winston, serving as a source of support for Wick, and Laurence Fishburne shows up for a Matrix reunion as the Bowery King, chewing up as much scenery as possible along the way. Common and Ruby Rose provide suitable physical threats, portraying private bodyguard Cassian and mute hit woman Ares respectively, each trading blows in visceral hand-to-hand combat against Wick. Meanwhile, Riccardo Scamarcio's Italian crime lord Santino D'Antonio serves to be a multifaceted antagonist with understandable motivations and clear intentions.

In conclusion, John Wick: Chapter 2 succeeds in an avenue few action sequels ever achieve. It raises both stakes and spectacle without losing sight of the components that made the first one so great. I wouldn't say it's definitively better, but it's at least as good as the first and does succeed in the merits of pulling off bigger action. One can only hope that a third chapter gets off the ground to see if Stahelski, Reeves, and crew can raise the bar any higher.

Film Assessment: A-

Throwback Thursday Review: 'John Wick'

This week I'm reviewing John Wick to tie-in with John Wick: Chapter 2, which I've actually seen and should have review up for fairly soon following the publication of this review. Reviews you can expect for the remainder of February are Throwback Thursday Reviews for Spider-Man and Pirates of the Caribbean: The Curse of the Black Pearl and reviews over new releases The LEGO Batman Movie, John Wick: Chapter 2, The Great Wall, A Cure for Wellness, and Get Out.

'John Wick' Review

After the sudden loss of his wife, John Wick receives a puppy named Daisy as his final gift from her. Following an encounter with the Russian mob in his slick 1969 Mustang, the thugs break into his house late at night, beat him, kill his dog, and steal his car. John Wick then tells the revenge tale of an ex-assassin pulled back into his past and hunting down those responsible.

John Wick was a film I remember catching at home rather than in the theaters and being completely blown away by the stunt work and action sequences. Unsurprisingly, it held up remarkably well. Stunt-coordinators Chad Stahelski and David Leitch stepped up to co-direct John Wick and the duo manage to string together an excellent revenge thriller. But John Wick isn't just another indispensable action flick.

The visual aesthetic to John Wick balances a subdued palette for John's normal affairs but an extravagant colorful hue to the twisted criminal world. The two best action sequences are the club and home invasion sequences that heavily feature stunt choreography called "gun-fu", a style of sophisticated close-quarters combat combining martial arts and firearms. The fight choreography is a brutal ballet, it's gruesome yet maintains a semblance of grace in how it's carried out. The "gun-fu" is absolutely incredible and the fact Keanu Reeves remains committed enough to perform a good chunk of the stunts himself makes it go the extra mile and feel all the more real. 

Derek Kolstad penned the screenplay and one of his greatest achievements is the underbelly world of assassins he manages to build throughout the film. There's everything from a laundromat service of sorts that will dispose of dead bodies and clean up the mess in exchange for a handsome fee to the Continental Hotel for these hitmen where no outside business (conflict) is allowed at risk of being excommunicated or even killed.

Kolstad establishes this rich world that screams for further exploration in sequels or spin-offs but Kolstad also wisely keeps some specifics under wraps because it only makes sense that these mercenaries would be secretive about their lives. Kolstad also sets up an excellent source of motivation to get Wick back into this way of life that's simultaenously logically and emotionally grounded. The narrative's relatively simple but Kolstad provides an interesting angle for what could have been a generic revenge story.

The cast assembled for John Wick are exceptionally talented and help to elevate proceedings regardless of how complex the characters they're portraying appear to be. Keanu Reeves' performance remains a career best as Reeves channels both an unhinged violence and vulnerability to John Wick. Reeves is committed in every regard and makes an epic action hero that's not purely a reckless unstoppable force but one with a human soul.

Willem Dafoe's a charming marksman, Adrianne Palicki plays the femme fatale, Alfie Allen portrays an overconfident crime prince, and Michael Nyqvust chews the scenery as Russian mafia head. Meanwhile the remaining underworld is bristling fun supporting roles for Ian McShane, Clarke Peters, Lance Reddick, and John Leguizamo.

In summary, John Wick remains to be an entertaining action escapade truly deserving of future installments.

Film Assessment: A-

Throwback Thursday Review: 'The Matrix Revolutions'

Sorry for the delayed review as I had to leave in the midst of preparing this review if I were going to catch the showing of Patriots Day I planned on attending last evening and I didn't get far along as I had hoped to be writing this review. Anyways, this week I'm concluding my series of reviews over The Matrix trilogy with my thoughts on The Matrix Revolutions and next week I will review John Wick to coincide with the release of its sequel. The reason I decided to review The Matrix trilogy prior to John Wick is that John Wick: Chapter 2 sees a reunion between actors Keanu Reeves and Laurence Fishburne. I'm almost caught up on other reviews as you can find my review of Split at the preceding hyperlink and my review of Patriots Day should be finalized by Saturday. I've yet to watch either The Founder or Gold but I intend to see and review those in addition to two other 2016 releases Jackie and Lion in the near future. What you can look forward to for the remainder of February are Throwback Thursday Reviews for John Wick, Spider-Man, and Pirates of the Caribbean: The Curse of the Black Pearl and reviews over new releases The LEGO Batman Movie, John Wick: Chapter 2, The Great Wall, A Cure for Wellness, and Get Out. 

'The Matrix Revolutions' Review

The Matrix Revolutions draws The Matrix trilogy to a close bringing man and machines together for a final confrontation while Neo must fight against Agent Smith one last time, deciding once and for all whether he's truly the "One." The Matrix Revolutions is considered by many to be a incredibly disappointing close to the franchise and I can understand that sentiment. However, considering that this was my first time to watch the trilogy, aware that neither The Matrix Reloaded or The Matrix Revolutions would compare to The Matrix, I wasn't let down. That's not to say Revolutions isn't flawed or isn't a bad movie, merely that it's not the atrocity I was expecting.

Revolutions, like its precursors, was written and directed by the Wachowskis and the duo stuffed Revolutions to the brim with extraneous characters, plot lines, and visuals. The Wachowskis weren't able to rekindle the flame of The Matrix with lackluster action and don't really deliver any memorable action this time around. There are maybe one or two somewhat cool action sequences but none of these are on par with what the Wachowskis had delivered previously. The cinematography from Bill Pope is fairly good and Don Davis' score sounds more cinematic but across the board everything just feels rushed together in comparison to the preceding installments.

One step up from Reloaded is that the Wachowskis were able to better hide the terrible CG, taking advantage of darker lighting and rain effects in some scenes, but again only a few of the effects hold up to today's standards. A slight improvement in the screenplay department was that the stakes were believable because the characters feel vulnerable, you actually believe that any character could die at any moment.

Otherwise, the plot itself is actually incredibly convoluted and a little hard to follow in some instances if you aren't paying keen attention to every detail and line of dialogue. The narrative largely takes place out of the Matrix and the end result is plenty of boring character exchanges. The Wachowskis introduce so many random characters that the story loses focus on the core group of heroes from time to time, there's a good chunk of the movie where Neo's nowhere to be found.

The core cast returns for one final hoo-rah and bow out half-heartedly. Keanu Reeves is disconnected from the audience as Neo, Carrie-Anne Moss and Laurence Fishburne are given almost nothing of consequential importance to do as Trinity and Morpheus respectively, and Hugo Weaving portrays Agent Smith to be a cartoonish robot.

Across the board The Matrix Revolutions actually isn't an atrocious movie, rather a lazily-made one that can't bear the burden of the heavy weight the Wachowskis set out to lift. All departments don't seem to be putting forth full commitment and the end result is a forgettable close to what should have been an awesome action trilogy.

Film Assessment: D+

Throwback Thursday Review: 'The Matrix Reloaded'

Sorry for the delayed review as I was quite busy this past week and when I was about to pop in The Matrix Reloaded disc Thursday night, I learned it was scratched and wouldn't play. This week I'm continuing my trek through The Matrix trilogy and in the following weeks I will review The Matrix Revolutions to cap it off and John Wick to coincide with John Wick: Chapter 2. The reason I decided to review The Matrix trilogy prior to John Wick is that John Wick: Chapter 2 sees a reunion between actors Keanu Reeves and Laurence Fishburne. Anyways, I'm well aware I've fallen behind in regards to reviewing some of the recent releases but will definitely get around to seeing Patriots Day and Split soon, no promises for The Founder and Gold but I intend to see those as well. Other reviews I haven't mentioned but can all but guarantee will be coming in the next two weeks include The LEGO Batman Movie and John Wick: Chapter 2. 

'The Matrix Reloaded' Review

The Matrix Reloaded picks up with Neo, Trinity, and Morpheus continuing their efforts to thwart the machines and our heroes must learn the secrets of the Matrix if they hope to save mankind. The Matrix Reloaded was written and directed by the Wachowskis as the duo sought to expand the immersive world they created in The Matrix. 

The Wachowskis succeed in some avenues but ultimately are unable to find the spark that made the original so great. The Wachowskis' visual plane is much more of a mixed bag than previous efforts with post-apocalyptic production design and streamlined futuristic special effects blended seamlessly together in contrast to the CG-rendered versions of characters, who look like poorly designed avatars from a dated video game, utilized in the more outlandish action sequences. 

The Wachowskis nail the action sequences when they're not trying to break the boundaries of what visual effects are capable of in filmmaking. However, these effects heavy sequences don't hold up to today's standards and that's to be somewhat expected from a fourteen year old movie but these are just awful. The sequences actually shot by cinematographer Bill Pope are a remarkable display of varying fight choreography from visceral hand-to-hand combat to a riveting chase sequence to the thrilling sword fight in the Chateau. These sequences are made even cooler thanks to another digitized soundtrack from Don Davis that's a perfect fit for the world of the Matrix. 

All the action's fairly memorable and there are plenty of cool moments interspersed but there's one thing that nearly undermines it all. There's simply no major stakes. This is largely due to the Wachowskis' script that negates the most crucial element of any action screenplay, vulnerability. It's difficult to truly become invested in the onscreen exploits if the screenwriters can't bridge the gap, leaving none of the threats to seem credible when Neo can simply walk away from everything unscathed. 

Another problem with the Wachowskis' screenplay is that it fails to properly address gaping plot-holes that emerge as a result of bringing back characters simply because they were cool in the original or fail to explain what really happened in-between the previous film and now. The Wachowskis did a fairly good job of laying out the rules and concepts of the Matrix in the predecessor but this time around so much is left unexplained, making it difficult to ascertain why certain events or actions are able to occur. The Wachowskis almost threw the idea of grounding the story (and quite literally characters) completely out the window. 

Most cast members return for the sequel with Keanu Reeves' Neo much more confident in his own abilities and prowess, Carrie-Anne Moss' Trinity given further humanity to explore while serving as the black leather-clad eye candy (the early 2000s were weird...), Laurence Fishburne's Morpheus deepened as the keen believer, and Hugo Weaving's Agent Smith a reckless robotic force to combat. 

To sum it up, The Matrix Reloaded is a serviceable popcorn action flick with enough iconic moments to keep action junkies entertained but fails in almost every regard to live up to its predecessor. It probably sounds like I'm being overly critical of the Wachowskis but it's merely because all the pieces are there, they simply aren't laid out correctly or to their greatest potential.

Film Assessment: C-

Throwback Thursday Review: 'The Matrix'

This week I'm starting my series of Throwback Thursday Reviews over The Matrix trilogy with my thoughts on The Matrix. In the next three weeks I'll review The Matrix Reloaded, The Matrix Revolutions, and John Wick to coincide with John Wick: Chapter 2 since it will see a reunion between actors Keanu Reeves and Laurence Fishburne. In the meantime, reviews you can expect to see relatively soon include Patriots Day, Live By Night, Split, The Founder, A Dog's Purpose, Gold, The LEGO Batman Movie, and John Wick: Chapter 2.

'The Matrix' Review

Nominated For: Best Film Editing, Best Sound, Best Sound Editing, and Best Visual Effects.

Won: Best Film Editing, Best Sound, Best Sound Editing, and Best Visual Effects.

In The Matrix machines have fabricated a false reality for subjecting humanity as they harvest humans to fuel their campaign of world domination. Computer hacker Neo learns the truth about the warped reality from a rebel insurgent group who reveal to him that he's prophesied to be the "One." Neo then must join the fight against the Matrix if humanity is to be saved. 

Confession: I had never seen The Matrix prior to watching it for this review, I had heard about it practically my entire life and knew enough to understand references but had never really gotten around to watching it. Therefore, I had some lofty expectations and must say the film holds up surprisingly well despite being nearly eighteen years old. The Matrix was originally written and directed by the Wachowski brothers, Andy and Lawrence, however the two are now the Wachowski sisters, Lilly and Lana, and I don't want to get into semantics so for the purposes of this review I will refer to them purely as the Wachowskis. 

The Wachowskis' imagination can't be paralleled as the two pushed the boundaries of action blockbuster filmmaking with The Matrix. The visual effects were definitely groundbreaking for the time but don't quite hold up as well as one would hope. The practical effects look incredibly authentic but early CGI simply wasn't up to what the Wachowskis envisioned when compared to what we see today. The Wachowskis and cinematographer Bill Pope shoot action in such a dynamic and interesting fashion that it's nearly impossible to not get engaged despite limited character development. 

The action sequences are almost 18 years old yet still maintain high energy and robustness about them to remain iconic. This is helped by the score from Don Davis, which has a digital DNA with poppy beats and a synthesizer to (re)boot. Elsewhere, the concepts and world building present in The Matrix are exceptionally well laid-out and the Wachowskis' screenplay explains nearly everything but the characters can't help but feel hollow in contrast to the limitless world surrounding them. 

Keanu Reeves plays the role of the reluctant "Chosen One" with enough uneasiness to make Neo's disbelief viable while also maintaining an air of confidence needed by an action hero. The main supporting cast fill the standard tropes with Carrie-Anne Moss' Trinity standing in as the romantic interest, Laurence Fishburne portraying the keen insightful leader, and Hugo Weaving as the sinisterly robotic Agent Smith. While all the aforementioned actors fit the roles and play their parts well they can't help but feel limited to the boundaries of their paper thin characters. 

In conclusion, The Matrix isn't the best action film but its influence on action is virtually unrivaled. The Matrix's technical prowess, direction, performances, and conceptual notions stand tall but the lack of necessary character depth keeps The Matrix from reaching its highest potential. 

Film Assessment: B