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Yes, the Architect scene is boring and the mythology overly dense.
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Reloaded and Revolutions might lack the (relative) simplicity of the original and dilute its 100% uncut cool with a dollop of camp, but they’re an almighty swing from the Wachowskis – an epic two-parter that continues to blur the boundaries between reality and simulation, delves further into philosophies around free will and systems of control, and does it all while delivering gigantic blockbuster sequences. But with The Matrix 4 on the horizon, now’s the time to revisit all three films in the original trilogy – and come to realise that the sequels are worthy of major plaudits too. It’s an all-out sci-fi cyberpunk classic, packed with eye-popping kung fu fights, epic slow-mo stunts, and philosophical deconstructions of the systems and structures of 21st Century life. Let’s face it – nobody needs to convince you to watch The Matrix. Brad Pitt is magnetic as Dalton’s stunt double Cliff Booth, Margot Robbie brings real light to her portrayal of film star Sharon Tate, and it’s as stylish as you’d expect from QT. Once Upon A Time In Hollywood is a sunset-hued celebration of a very specific time and place, tinged with melancholy – but it’s an oddly sweet Tarantino film in many ways, one that (as its title suggests) plays out as a fairytale, complete with a history-subverting happy ending.
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The Golden Age of Hollywood is drawing to a close, cinema icons are partying together in the hills, and folk-rock songs blare out on car stereos – but there’s darkness brewing too, as the film industry teeters on the brink of change, Leonardo DiCaprio’s actor Rick Dalton senses his working days are numbered, and Charles Manson’s hippie commune prepares to morph into something more murderous. The latest film from Quentin Tarantino is a love-letter to Los Angeles – specifically, the Los Angeles of 1969.