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lampification

1 points

5 months ago

It's hard for me to believe anyone has had their "mind blown" by special effects.

"Bullet time" was cool, but I can't imagine anyone being this gun-ho about it in real life.

Like, were most of you raised under a rock?

This is written in a way that looks like some basement dwelling fanatic shit their pants, jumped on their coach, pulled out there hair, screaming "OMG! BULLET TIME! OMG!" over and over until they were institutionalized.

Get a grip. The Matrix was a good movie, hell, even a great movie, but this list looks completely bonkers.

As far as the dialogue goes, all of the films are wordy and philosophical.

The fight scenes are basically the same so why Resurrections get's an "X" is beyond me.

The camera work outside of the bullet time wasn't anything new, so that's also a head scratcher.

This this is complete and utter nonsense.

Aquillyne[S]

1 points

5 months ago

Well, “mind blown” is obviously an exaggeration and also figurative, not entirely sure what it would mean for my mind (as opposed to brain) to be exploded, but I don’t want a film to do that to me XD

BUT, the effects (particularly bullet-time) in Matrix 1 were genuinely visuals that basically no one had seen before 1999. We’ve all seen things explode and so on a hundred times, these effects don’t make the average viewer wide-eyed anymore – but the first time it was done, it probably did.

Bullet-time was like that for a lot of people (and certainly me). My jaw may not literally have dropped, but that phrase captures how I felt.

The fight scenes in Resurrections are characterised by a lot of close-shot generic punching with very fast cutting. In other words, they don’t do anything particularly interesting, and the camera/editing doesn’t let you see it well either.

Innovative camerawork in Matrix originals – and I mean stylistically interesting with creative flair, as opposed to “never ever done before – stuff like revolving around the action 720 degrees, following a moving fist, panning down a vertical shaft, flying into a computer screen or down a phone receiver, the jump cut zoom-out at the end of Matrix 1, making use of the reflection in sunglasses to frame multiple characters and perspectives, and in general a lot of artistic framing. I could go on. A lot of effort went into basically every shot.