In the near future, a computer hacker named Neo discovers that all life on Earth may be nothing more than an elaborate facade created by a malevolent cyber-intelligence, for the purpose of placating us while our life essence is "farmed" to fuel the Matrix's campaign of domination in the "real" world. He joins like-minded Rebel warriors...
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In the near future, a computer hacker named Neo discovers that all life on Earth may be nothing more than an elaborate facade created by a malevolent cyber-intelligence, for the purpose of placating us while our life essence is "farmed" to fuel the Matrix's campaign of domination in the "real" world. He joins like-minded Rebel warriors Morpheus and Trinity in their struggle to overthrow the Matrix.
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By Kenneth Turan, Times Film Critic
Wednesday March 31, 1999
''Imagine you're feeling a little like Alice, tumbling down the
rabbit hole,'' someone says in the dazzling and disorienting ''The Matrix,'' and who has the strength to argue?
A wildly cinematic futuristic thriller that is determined to overpower
the imagination, ''The Matrix'' combines traditional science-fiction
premises with spanking new visual technology in a way that almost defies description. Like it or not, this is one movie that words don't come close to approximating.
Written and directed by the Wachowski brothers, Larry and Andy, ''The
Matrix'' is the unlikely spiritual love child of dark futurist Philip K.
Dick and the snap and dazzle of Hong Kong filmmaking, with digital
technology serving as the helpful midwife.
Yet because this tale has been on the Wachowskis' minds for so
long--it was written before their 1996 debut film, ''Bound''--''The Matrix'' never feels patched together. And its story, constructed though it is from familiar elements and pseudo-mystical musings, is nevertheless strong enough to support the film's rip-roaring visuals.
Thomas Anderson (Keanu Reeves), a software programmer in a world very
much like our own who goes by his nighttime hacker moniker of Neo, has
heard the Matrix whispered about his whole life, but no one knows what it is. All the beautiful Trinity (Carrie-Anne Moss of TV's ''Dark Justice'') can tell him is that ''it's looking for you,'' which is certainly scary but not a great deal of help.
For that Neo has to turn to Trinity's partner, the legendary Morpheus
(Laurence Fishburne), considered the most dangerous man alive by the
authorities. What he says is more than frightening: What Neo thinks is
the real world is no more than a computer-generated dreamscape, a virtual reality created by the artificial intelligence that really controls things to distract our human minds while our bodies are systematically plundered as an energy source to keep those nefarious machines up and running.
Sometimes those machines take human form as agents, robotic parodies
of FBI men, like the chilling Agent Smith (Hugo Weaving of ''Proof'' and
''The Adventures of Priscilla, Queen of the Desert''), who wear security
earpieces, sunglasses and white shirts with ties and are terrifyingly
close to indestructible.
These Matrix men have a special interest in Neo. There's a feeling in
the air, one that Morpheus and his ragtag colleagues (including ''Bound''
veteran Joe Pantoliano) are tempted to share, that Neo might be the One, the foretold liberator who has the power to destroy the Matrix and free the human race. But only the Oracle (a fine cameo by Gloria Foster) knows for sure, and everything she says is, well, oracular.
Obviously, there's a great deal that's familiar about ''The Matrix,''
starting with its sturdy themes of alternate realities, the deadly
rivalry between men and machines, the resilient power of the human mind
and the creeping dangers of conformity. And the film's fake-Zen dialogue, lines like ''Don't think you are; know you are'' and ''There's a difference between knowing the path and walking the path,'' isn't going to win any ovations for originality.
On the other hand, the somber quality of the dialogue suits the
apocalyptic quality of ''The Matrix'' story, and the gravity of the actors, especially the always magisterial Fishburne and the magnetically phlegmatic Reeves, makes the words more bemusing than bothersome.
Helping most of all are the riveting visuals shot by Bill Pope. The
Wachowskis do have a taste for the bizarre (witness an electronic bug
that turns into a body-piercing insect) but this tendency pays off in
bravura moments like a mesmerizing vista of a body farm without end
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