Keanu Reeves Returned to Matrix 4 Because of “Beautiful Script”

The details surrounding The Matrix 4 have been, at least to this film fan, very confusing. The last film, The Matrix Revolutions, ended with the deaths of Neo and Trinity, and yet Morpheus lived, but now with the production of the new film, we’ve learned that Keanu Reeves and Carrie-Anne Moss are returning to the franchise, and as of now, I’ve heard nothing of Laurence Fishburne’s return.

Regardless, The Matrix 4 is happening with Lana Wachowski directing and a screenplay from Wachowski, David Mitchell, Aleksandar Hemon. From what Reeves is saying, it’s that screenplay and the story presented by Lana that convinced him to return to the franchise. Reeves, talking to Empire, said:

“Lana Wachowski wrote a beautiful script and a wonderful story that resonated with me. That’s the only reason to do it. To work with her again is just amazing.”

Honestly, this brings so much joy and excitement to my mind. I already couldn’t wait for a new Matrix film, but knowing that the script and story brought Keanu back only adds to my interest. I’m a huge fan of Cloud Atlas, a previous work from the Wachowskis (Lana’s sister Lilly stepped away from Hollywood a few years back), which was based on David Mitchell’s novel. I love that he contributed to the screenplay, and I’m all the more excited, albeit very confused, about where the story is going.

So what do you think? Should the series have stayed dead or is now a great time to return to this universe? Let me know/Drop a comment down below.

The Matrix 4 hits theaters in 2021.

 

-Kyle A. Goethe

[31 Days of Horror Part V: A New Beginning] Day 2 – A Nightmare on Elm Street 3: Dream Warriors (1987)

Director: Chuck Russell

Cast: Heather Langenkamp, Patricia Arquette, Laurence Fishburne, Priscilla Pointer, Craig Wasson, John Saxon, Dick Cavette, Zsa Zsa Gabor, Robert Englund

Screenplay: Wes Craven, Bruce Wagner, Frank Darabont, Chuck Russell

96 mins. Rated R.

 

A Nightmare on Elm Street was a huge hit, and while its sequel, Freddy’s Revenge, was financially successful, New Line Cinema realized that the second installment of this popular franchise missed the mark in more ways than one. So, they went back to the creator, Wes Craven , for help. He reluctantly answered. The next installment would have to be one that honored the roots of the series while adding a fresh spin. It’s something more franchises should hope to achieve.

Kristen Parker (Patricia Arquette, Boyhood, TV’s CSI: Cyber) is experiencing horrible nightmares at the hands of Freddy Krueger (Robert Englund, Lake Placid vs. Anaconda, The Funhouse Massacre). When her mother fears for her safety, she is admitted to Westin Hospital, a psychiatric ward run by Dr. Neil Gordon (Craig Wasson, Body Double, Akeelah and the Bee). There, she meets several other teens being tormented by Krueger. They soon learn from Nancy Thompson (Heather Langenkamp, Hellraiser: Judgment, TV’s Just the Ten of Us), a survivor of Freddy’s slayings, that Kristen and the others are the last of the Elm Street children, and Krueger has plans to rid them once and for all. But Nancy has a plan using an untested sleep disorder drug and bit of practice, she plans to turn the tables on Krueger using his very dream power against him. But can they stop him?

Dream Warriors takes the high-concept premise of the original Nightmare on Elm Street and stretches it into new directions. There’s a more fantastical element in this sequel that would permeate through the rest of the series, especially seeing the “Dream” version of our core characters. Director Chuck Russell (The Blob, I Am Wrath) expertly flitters between horror and fantasy in a really special way.

It’s great to see Langenkamp return in the role of Nancy. It adds a feeling of returning to this installment that the previous film was lacking, and when you include John Saxon (Enter the Dragon, From Dusk Till Dawn) reprising his role as Nancy’s father, it feels like wrapping up loose ends. I get the sensation that this was intended to be the final film of a trilogy, and it works in that way while continuing on.

Newcomer Patricia Arquette shines as Kristen. I just loved watching her perform (it isn’t hard to believe, everyone on set was in love with her). She has an innocence that she adds to the role and a nice character arc as she struggles with finding the strength to defend herself from the horrific Krueger.

What’s really kind of amazing are the cameos from Dick Cavett (Beetlejuice, River of Fundament) and Zsa Zsa Gabor (Queen of Outer Space, Moulin Rouge). These kinds of cameos don’t ever really seem to work, but perhaps it is the sheer absurdity of it all (Cavett said he wanted Gabor to appear with him as he found her so annoying and would never actually interview her in real life) that seems to work. It’s a blink-and-you’ll-miss-it kind of magic.

Dream Warriors was also a product of the 80s with its very own song performed by rock group Dokken. It’s a forgotten piece of marketing that I wish would come back. Lines like “Welcome to Prime Time, Bitch!” (Robert Englund famously improvised the dialogue) and the song “Dream Warriors” firmly plant this film in its time period.

I also have to credit the film for its incredibly unnerving special effects. There’s a sequence involving puppetry that, though it hasn’t aged perfectly, still works just as well. I have to mention the Freddy snake as well, phallic though it may be. This is an effects film done very well on a tight budget.

A Nightmare on Elm Street 3: Dream Warriors forges a new path for its mythology and franchise trajectory, and it is one of the better installments in the series. Rooted in myth, horror, and fantasy, Chuck Russell’s film tortures its youthful cast of characters while developing each of them, even if some fall back to archetype as opposed to dynamism. It boils down to a film that is more fun the more you watch it, and it doesn’t lose its thrills for the sake of its more mystical elements. It’s a hell of a ride over 30 years later.

 

4/5

-Kyle A. Goethe

 

 

For my review of Sean S. Cunningham’s Friday the 13th, click here.

For my review of Wes Craven’s A Nightmare on Elm Street, click here.

For my review of Steve Miner’s Friday the 13th Part 2, click here.

For my review of Steve Miner’s Friday the 13th Part III, click here.

For my review of Joseph Zito’s Friday the 13th: The Final Chapter, click here.

For my review of Jack Sholder’s A Nightmare on Elm Street 2: Freddy’s Revenge, click here.

For my review of Danny Steinmann’s Friday the 13th Part V: A New Beginning, click here.

For my review of Tom McLoughlin’s Jason Lives: Friday the 13th Part VI, click here.

 

For more Almighty Goatman,

Batman v Superman: Dawn of Justice (2016)

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Director: Zack Snyder

Cast: Ben Affleck, Henry Cavill, Amy Adams, Jesse Eisenberg, Diane Lane, Laurence Fishburne, Jeremy Irons, Holly Hunter, Gal Gadot

Screenplay: Chris Terrio, David S. Goyer

151 mins. Rated PG-13 for intense sequences of violence and action throughout, and some sensuality.

 

So, after countless years of waiting for DC to officially make a move at creating a cinematic universe, Batman v Superman: Dawn of Justice has arrived. Now comes the real question: Can DC create a universe from some of the most popular characters in comic book history? And what exactly is this film?

Bruce Wayne (Ben Affleck, Argo, Gone Girl) has been obsessed with one thing over the past eighteen months: Superman (Henry Cavill, The Man from U.N.C.L.E., The Cold Light of Day). After witnessing the damage done to the city of Metropolis due to Superman’s fight with General Zod, and seeing one of his own buildings filled with his employees come down in the battle, Bruce does not believe that Superman should be allowed to do as he pleases, and he’s not alone. Senator Finch (Holly Hunter, The Incredibles, Manglehorn) and billionaire playboy Lex Luthor (Jesse Eisenberg, The Social Network, American Ultra) completely agree. Bruce’s caretaker Alfred (Jeremy Irons, The Lion King, Race) becomes increasingly more concerned about Wayne’s mental state as the obsession grows. Meanwhile, Clark Kent’s life is moving in the right direction: He is in love with Lois Lane (Amy Adams, American Hustle, Big Eyes), he has a great job at the Daily Planet, but there is a problem. He too has become worried about a masked vigilante frequently called The Bat, but Clark finds that the world seems to be more concerned with Superman’s doings than this Bat character. When Lex Luthor sees an opening, he begins planting the seeds to bring these two heroic titans to blows, and hopefully take them both down at once.

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Well, we have a lot to discuss, so let’s start at the beginning. The title of the film is very strange. The decision to excise the “vs” in favor of a “v” implies a court case, which confuses me as I don’t understand why you want a superhero movie to be a court case, but I’ve already started to digress.

This movie’s plot seems to want to go everywhere but doesn’t actually get anywhere. It seems like two screenplays jammed together: one is a Batman v Superman movie, the other a Dawn of Justice movie. The problem here is that the glue used to stick these movies together is weak and flimsy. The Batman stuff is great, particularly their dealing with the origin, which is fleshed over the opening credits like how The Incredible Hulk treated theirs. Since this is the second Batman of this decade and the third iteration of an origin, I’m glad they decided to go this route, citing that Batman Begins did it the best it could ever be done. And what a Batman they picked! Ben Affleck owned this role. I learned from my initial criticism of Heath Ledger’s casting for The Dark Knight when Ben Affleck was selected to don the cowl for the nest Batman. I pulled back and thought, let’s just wait and see. And I was right, folks! Affleck’s performance was real and yet unlike anything we’ve seen from the Caped Crusader.

How’s the Superman stuff? Eh, not all that great. Henry Cavill doesn’t have the acting chops to do much, and his character is wasted on a convoluted plotline anda misunderstanding of the Man of Steel. I read countless times that this isn’t so much of a Man of Steel sequel but rather a backdoor pilot for the Justice League, which isn’t true. This is in fact a direct sequel as it fits every plot point of the previous film into this one, even the finished plot threads, and the movie bloats because of it.

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Now onto the Wonder Woman (Gal Gadot, Fast & Furious 6, Criminal) of it all. Wonder Woman is great. With only 16 lines of dialogue, Gal Gadot does her best to leave a presence here, and she does. It’s a great introduction to this character and truly excited me for the next installment featuring her.

Among the film’s principal faults lie Jesse Eisenberg, who plays a very new and very different incarnation of Lex Luthor. He did one incredible feat in this film. He made me hate Lex Luthor, but not in a way that works. Eisenberg skewers every scene is in by playing some goofy and unhinged extremes. For a character who was apparently written with such realism, none of that comes to play here. I was arguing with someone who claimed to understand (but not like) Eisenberg’s portrayal of the greatest criminal mastermind of our time. He told me that I didn’t like the performance because I wanted Gene Hackman back. I answered back that I didn’t like the performance because it was a poor performance. There were multiple moments in the film that feature Luthor in public essentially having a mental break. I was sitting in the theater and wanted to see someone just look at him and think that this guy is absolutely insane. The worst of it was all this press that came out later and announced that Bryan Cranston had been looked at, as had Tom Hanks (based on his incredible work on the underrated Cloud Atlas), and yet Eisenberg had been selected in order to reinvent the character. WHAT?!?

Let’s talk some on the Dawn of Justice portion of the film, which does get us into some spoilery territory, so be warned. Batman v Superman is seen as almost a Justice League origin story in a lot of ways. It sets up Batman, Wonder Woman, and even introduces us to several other members of the team. A major problem here is that the audience is spoon-fed the Justice League. The references and setups are literally beaten over the heads of viewers. There are better ways about this. The introduction of the Justice League was terrible sans The Flash, who got a quick moment of reveal that actually worked for me. As for Aquaman and Cyborg…yuck. Cyborg even wasted the origin story on a poor expository flitter of a moment with no style whatsoever. Absolutely stupid. Now, the film does have some subtlety here when they dance around some of the dark past of Bruce Wayne, but it doesn’t do this enough. You could even have thrown some of this into a post-credits scene to get it out of the main narrative.

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Batman v Superman: Dawn of Justice is, to me, a more enjoyable experience than Man of Steel, but as far as a cohesive story, it is not. This is a collection of some really cool moments squeezed into a movie that’s bursting at the seams. Ben Affleck gets great redemption from his previous Daredevil failure (in a world where Ryan Reynolds and Chris Evans are also getting second chances) and is easily the best part of this film (Scott Adkins blames the Oscars for why Ben Affleck was cast, but doesn’t understand that Scott Adkins was not cast because he was Scott Adkins). I’m excited to see where this franchise is going (Suicide Squad and Wonder Woman) but I’m nervous that the DCEU is not getting off to a great start and can’t really afford to fumble anymore. Overall, the film is divisive and has some great elements, but there is just too much that is found guilty in this court case.

 

2.5/5

-Kyle A. Goethe

 

For my review of Zack Snyder’s Man of Steel, click here.

For my review of Zack Snyder’s Sucker Punch, click here.

Man of Steel (2013)

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Director: Zack Snyder

Cast: Henry Cavill, Amy Adams, Michael Shannon, Kevin Costner, Diane Lane, Laurence Fishburne, Antje Traue, Ayalet Zurer, Christopher Meloni, Russell Crowe

Screenplay: David S. Goyer

143 mins. Rated PG-13 for intense sequences of sci-fi violence, action and destruction, and for some language.

 

So what happens when the king of green-screen takes on the most famous superhero in history. Why, you get Man of Steel. My review is here.

On the far-off planet of Krypton, science officer Jor-El (Russell Crowe, Gladiator, Noah) tries to convince his dying planet that they do not have any time left and must abandon all hope to the stars. As he quells a coup from military leader General Zod (Michael Shannon, TV’s Boardwalk Empire, Take Shelter), Jor-El realizes that all hope for saving his race are gone except for a miracle which has resulted in the first natural birth in years. His son Kal-El is born. Jor-El does one of the most insane things in comic book history by launching his infant son off into space in hopes of saving the Kryptonian species.

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Years later, an adult Kal-El (Henry Cavill, Immortals, The Cold Light of Day), now under the guise of Clark Kent, tries to keep his superpowers under wraps as he lives a normal life raised to Jonathan Kent (Kevin Costner, Dances with Wolves, Draft Day) and his wife, Martha (Diane Lane, Unfaithful, Secretariat).That is, until General Zod comes to Earth in search of taking the planet and terraforming it for his own. Now, with the help of Lois Lane (Amy Adams, American Hustle, Her), Superman must stop Zod and save the human race from extinction.

I wanted to like this movie. I am a major fan of the Superman mythos. I love director Christopher Nolan and his work with The Dark Knight series, so when I saw his name on the producer credits for Man of Steel, I was overjoyed. I even like somewhat likable director Zack Snyder, and find him to be a slightly more skilled director than Michael Bay, so I was excited. Then I saw it.

It felt like the team behind the film didn’t know anything about Superman or why his character is so important. We see virtually none of Clark Kent. He reveals himself to Lois Lane way way too early for there to be an actual romance to develop. I like General Zod, but he isn’t nearly as strong as previous incarnations have made the character. He comes off as a lost little leader looking for someone to blame as opposed to the cold and calculated military beast he should be. His flunkies are not anything more than flat uninspired flunkies.

The film has some strong performances from minor characters due to great work by Costner, Lane, and Crowe as well Laurence Fishburne (TV’s Black-ish, The Matrix) as Daily Planet bigwig Perry White and Christopher Meloni (TV’s Law & Order: Special Victims Unit, Sin City: A Dame to Kill For) as Colonel Nathan Hardy, but unfortunately, when you cast an unknown, you might get a dud. Henry Cavill is a dud.

Then there is Zack Snyder (300, Sucker Punch), who definitely brings the spectacle, and a lot of it, but he doesn’t give us any heart. This film is all spectacle, no substance. We don’t get any Daily Planet or Jimmy Olsen. We don’t get any Lex Luthor (though I can get waiting on the sequel for him). We don’t get what an origin story needs. Here’s some advice. Don’t do an origin story if the previous incarnation did it so well. Richard Donner’s Superman: The Movie did the origin so well, so why try to top it. Do what The Incredible Hulk and just skip past it while referencing little moments. This film was too much like The Amazing Spider-Man and not enough like a reboot should be.

And if I might have a moment to speak to David S. Goyer. Sir, please take a break from superheroes. It’s becoming a little weird.

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Sadly, Man of Steel was not the movie I was looking for. The character of Superman has a little camp, and that’s fine, at least Marvel took on the camp with their version of Captain America: The First Avenger and embrace it a little. Have a little fun. Isn’t that what superheroes usually are about (with the exception of a select few). Hopefully this team can pick up the pieces with Batfleck and fix it for Batman vs. Superman: Dawn of Justice. I said hopefully.

 

2/5

-Kyle A. Goethe

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