"I'll just get my gear."

The Matrix Revolutions

When the second half of the 2-part MATRIX sequel begins, our hero Neo and antagonist Agent Smith are both displaced from their regular realities. Smith has somehow transferred his computer-program-consciousness into the organic human body of Bane, only survivor of the destroyed Nebuchadnezzar, now in the sick bay of the Hammer next to comatose Neo, whose mind is trapped in a purgatorial subway station in a virtual world separate from The Matrix.

Yeah, the sequels get complicated. We learn that programs inside The Matrix are regularly deleted, but some try to escape that fate. The subway is a black market means of smuggling exile programs in and out of the Matrix or the Machine City (01?) mainframe. This is all overseen by the Merovingian, with the subway itself operated by his employee The Trainman, a scary dude played by Bruce Spence, a.k.a. the Gyro Captain in THE ROAD WARRIOR and Jedediah in MAD MAX BEYOND THUNDERDOME.

(Spence is the king of giant franchises because in addition to THE MATRIX and MAD MAX he’s in LORD OF THE RINGS [RETURN OF THE KING extended edition], STAR WARS [REVENGE OF THE SITH], and PIRATES OF THE CARRIBEAN [DEAD MEN TELL NO TALES]. Plus you could throw in an Ace Ventura, a Munsters, a Lestat, an Inspector Gadget, a Chronicles of Narnia and a Children of the Corn if you want to be a completist about it.)

It’s here at the Mobil Ave subway station that we and Neo meet Rama-Kandra (Bernard White, THE ELEVENTH COMMANDMENT, THE SCORPION KING) and Kamala (Tharini Mudaliar), exiled programs trying to smuggle their daughter Sati (Tanveer K. Atwal) to safety, since she was created out of love and could be deleted for not having a “purpose.” It’s not lost on Neo that these are digital creations who believe in love and karma. They’re also humane enough to let him carry their luggage to act casual getting onto the train, even though why would that work and then it’s unclear if they get their suitcase back when it doesn’t. The Trainman leaves Neo stranded, and when he tries to walk through the tunnel he just ends up at the same place over and over again.

But his people aren’t about to leave him stranded. Morpheus, Trinity and Seraph face down Merovingian at some S&M place called Club Hel and force him to let Neo go. We often talk about the sincerity of the Wachowskis, and I think this is an example. Usually fetish stuff in a movie is just put in there to be freaky, but I suspect one or more of the siblings are actually into this shit. I don’t know. Just a hunch.

I do not get this from the actual movie, but according to reference materials the patrons of Club Hel intentionally resemble different types of vampires, werewolves and other monsters because they’re meant to be, like the twins in RELOADED, programs that glitched out and had unnatural abilities which would be reason for deletion (and the inspiration for legends about such monsters). So if I may bring up the Wachowskis’ history writing for Clive Barker comics one last time, the imagery resembles HELLRAISER but the concept is more NIGHTBREED – a digital Midian. (But also this reminds me of the BLADE movies. Which is always good.)

Once he’s freed, Neo goes to talk to the Oracle, who he notices looks different (Gloria Foster had died, so she’s now played by Mary Alice [BEAT STREET, A PERFECT WORLD]) and also now understands is a program and therefore part of the Matrix, so he doesn’t know if he should trust her. But he chooses to.

Meanwhile, there are even more Agent Smiths than there were to fight Neo in RELOADED because he’s going around absorbing other programs. When he does this to the Oracle he now has her psychic powers (and, I’m guessing, her cookie recipe).

I must admit that I’ve never really gotten down with the thing about Smith taking over Bane (Ian Bliss, MAN-THING). Partly because I just don’t get how that works, but also because the character is not really established as very interesting or important until he becomes a host body. Until I saw RELOADED a bunch of times I always thought, “Who is that again?” when they ended ominously on his face. But on this viewing, at least, I really appreciated that Bliss does a pretty good Agent Smith imitation. Still, I never find this one of the more compelling or memorable parts of the sequels.

While the captains discuss strategies for defending Zion from the drilling Sentinels, Neo convinces them to let him take one ship for what most of them believe is a crazy plan to go to the Machine City. I like this because it feels so mythological; he’s already escaped from the underworld with new wisdom, now he’s on a dangerous journey, he becomes blinded (losing the eyes he’s been using for less than a year!) but gains a new sense (seeing the glow of machines?) and when he speaks to a giant baby face made of machines representing, I guess, the collective intelligence of the Machine City, it’s like he’s facing a god or a Titan.


In fact, in researching the review I learned that the machine character is called Deus Ex Machina – a meta joke about its purpose in the story, but also literally a “god out of the machine.”

When it comes to the battle at Zion, REVOLUTIONS is a much more straight ahead blockbuster than RELOADED. We spend alot of time on complex and well put together battle sequences cutting between the mechs, various hovercraft crews, and volunteers on the ground with rocket launchers, battling the squids. All this is comparable to many of the STAR WARS movies, or to AVATAR. And the effects have aged well – there are many models used, and the wriggly movements of the Sentinels (in gigantic numbers) were an envelope-pushing effect that was not at all an overreach like some might say of the digital human characters. They hold up.


As with RELOADED, one of the things I suspect people had a problem with in REVOLUTIONS is one of the things I think makes the movie special: the fact that Neo negotiates, instead of destroying the machines.

It’s very courageous what he does. They could easily kill him, but he convinces them to listen to him first. He tells them that Agent Smith has evolved beyond any previous versions of Agent Smith, and may be successful in his plan to conquer both the human world and The Matrix. And he argues that he himself, the One, with his off-the-charts powers, is the 1 to balance that 0, the only one who can stop Smith. The Machines are persuaded, so they plug Neo into The Matrix to fight Smith, and stop all of the Sentinels at Zion. And when it’s all over they turn around leave. So we don’t get an exploding Death Star moment, a V-Day celebration. The Machines get to live and we get to live. And people will be allowed to leave the Matrix if they want to. It’s not perfect, but it’s progress. More living beings getting to have the lives and destinies of their choosing.

Oh, and yeah, Trinity and Neo both sacrifice themselves to create this peace. But the Oracle implies that Neo will be back somehow. (And oh shit, it looks like both of them will be back in THE MATRIX RESURRECTIONS next Wednesday!)

I’ve always admired that this big sci-fi war trilogy would end with a sort of shaky compromise instead of a rah-rah military victory that we pretend solves everything. It just feels more true to life, more in the MATRIX spirit of doing things differently, and also more fair to the machines and programs, who we have learned over the series and in THE ANIMATRIX have a right to live.

But I’m making it sound like some anti-climactic pulling the football away ending, and I don’t think that’s the case. The mech battle is cool (moreso before AVATAR came along) but the real climax is Neo’s final duel against Smith, in a dark rainy street, between rows of Smith clones lined up by the hundreds. The structure of The Matrix seems to be crumbling and glitching out left and right, and both of them have become powerful beyond anything they’ve ever imagined. Of the numerous movies in the years since that climax with an FX-enhanced battle between super powered characters, not many come to mind as doing it this well. But I suppose it helps that this is a culmination of three movies, of a showdown and a rematch. We’ve watched their skills and their rivalry grow as each have become aware of or changed their understanding of the titular virtual world. And now it deteriorates around them as their awesome powers clash, the entire human and machine populations awaiting the outcome. Simultaneously epic and intimate.

(Also all of this beautiful rain may have given Woo-ping ideas and/or relevant experience for the opening scene of THE GRANDMASTER.)

THE MATRIX REVOLUTIONS
THE GRANDMASTER

I’ve never really been able to imagine what happens next in this world. I guess there was an online video game with some answers, which may or may not be totally ignored in RESURRECTIONS. It was only when we talked about it on the 00’s Zone podcast that I realized how optimistic I’m willing to be about it. I thought of the scene right before Trinity’s death, when she steers the ship to avoid an onslaught of machines, and they fly up above the clouds and we see that there actually is a sky up there. All that time in the Matrix wearing sunglasses and this is the only time in Trinity’s life she got to feel real sunlight on her face.

It’s a beautiful moment that shows that this horrible status quo might not have to last forever. While the war’s off, maybe there could be some way to clear those skies, bring back solar power, phase out human power, make it so you have to opt-in to be in the Matrix. I’m sure everybody knowing it’s the Matrix and they can learn to do crazy shit would create all kinds of problems, but so does anything. The point is to not give up on trying to make a better world. We want everybody to be free, to be who they want to be, and to not have to fight. Exceptions made for kung fu.

This entry was posted on Thursday, December 16th, 2021 at 12:20 pm and is filed under Action, Martial Arts, Reviews, Science Fiction and Space Shit. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.

20 Responses to “The Matrix Revolutions”

  1. When that movie started and the first critics kinda hated it, I was worried, but I ended up liking it a lot. The battle for Zion is exciting and in general the whole movie has a “Journey into the unknown” vibe, that part 2 lacked. It’s a satisfying conclusion IMO. Maybe not exactly the ending we wanted (“Humans are still slaves, but at least the machines won’t kill them anymore” isn’t really a happy ending, if you think about it), but a good one.

  2. The ending implies that humans will not still be slaves.

    Oracle: What about the others?
    Architect: What others?
    Oracle: The ones that want out.
    Architect: Obviously, they will be freed.
    Oracle: I have your word?
    Architect: What do you think I am? Human?

    Or do you think they’re only talking about programs? I suppose that’s possible, but I’ve always assumed they were talking about humans being allowed to unplug.

  3. Well, “Humans are still batteries” would’ve been maybe more accurate. Sure, if they wake up, they are free to go, but it’s not like Zion is gonna start a huge ad-campaign in the Matrix and delivers a bunch of red pills for free to every household. (Sorry if I sound a bit cynical about the ending. I do like it. It’s definitely a braver choice than every human getting magically unplugged, because Neo punched the machine baby.)

  4. I can see both sides of it. The machines will continue to grow fields of human batteries, but maybe Neo will functionally deliver the red pill to everybody like he basically promises / threatens to do in his speech at the end of 1. Of course, the logistics of retrieving and then caring for all those awakened humans would be a serious challenge for Zion even without the threat of sentinels, so maybe the status quo does prevail in some respects, at least in the short term. I suspect the new film will go in a completely unexpected direction, though.

    When I saw this film upon release I just could not get over the blue sky moment. Why aren’t the machines on top of mount everest harnessing solar power?? What a stupid complaint, and what a great scene

  5. Lol, watch RESURRECTIONS be filled with overt references to Clive Barker.

    The above-the-clouds moment is such a magical piece of cinema. That, and when Neo is almost, like, pulled through the window of the ship by the yellow stuff (?) and Trinity is like “No. I need you here.” and puts her hand on his chest to keep him where he is– they’re my favorite parts of this movie.

    For me the first is basically a perfect film. The screenplay for RELOADED makes it feel the most personal of the 3 (even though I agree with some folks on the RELOADED board who were saying it feels like it was directed by different people than the first— I have a hunch the unit teams or whatever they’re called earned their salaries on the sequels— but I pick up a lot more stuff that has the ring of authorial experience in the screenplay of the 2nd movie than in the 1st or 3rd). REVOLUTIONS has enough ground to cover story-wise that it feels like a bit of a grind sometimes, but I can’t really fault it for that.

    I’d forgotten how centralized Agent Smith was in the plot of the 3rd….. it’s both cool and endearing to see Hugo Weaving/the Wachowskis play with mainstream ideas of machismo via his performance. I think the case could be made that Smith represents the (real, non-movie world) system’s ideas of what men are. And Neo/Trinity reject it— not only physically, in Neo’s battle with Smith, but ideologically via their middle-path resolution with the machines. The way the so-called-at-one-time Burly Brawl plays out in RELOADED fits into that reading, too — it’s Neo learning the different variances of macho bullshit, realizing “Hm… they’re all pretty much the same thing” and peacing out. He’s on his own trip.

    In RELOADED I’m also fond of the moments, which seem comically intended, where Neo and Trinity get fawning reception whereever they go in Zion. Seems like that would be most funny to someone who’s had it happen to them — ie, the Wachowskis in Hollywood after the first one blew up. Again, it’s endearing. Gives me that reaction like “I don’t relate to that at all, but I approve of your evident desire to put it in your movie.”

    As someone who’s been reading your reviews since RELOADED came out, Vern, these new reviews have been a real joy to read. I hope you enjoy Part 4!

  6. I still don’t like Revolutions, not because of the compromise ending. That part’s good but I just think spending 90% of a Matrix movie outside the matrix is a bad miscalculation. As innovative as it may have been, the mech battle feels entirely derivative and never exciting to me. Even the final Matrix battle doesn’t do much for me. Perhaps because the crumbling background is more interesting than the actual fight between Smith and Neo.

    The train station is a fascinating concept that just doesn’t go anywhere. It’s just the matrix is the only part that’s unique to other movies. No matter what they do in Zion, there are dozens of other movies that do similar things.

  7. I think what I said in the Reloaded review holds true here as well–for better or worse, these are one big movie. Anyway, I recall a fan script I read where Zion’s objective was to destroy the Matrix, but that would kill all the people still connected to it, with Neo not being willing to do that. Struck me as a better idea than many that made their way into the sequels.

  8. With prominent roles in the third movie of the Mad Max, Matrix, Lord of the Rings, Star Wars and Narnia franchises, I guess it’s safe to say that Bruce Spence is one hell of a closer. Just a thought.

  9. I do like REVOLUTIONS. Maybe there was a certain amount of expectation recalibration after RELOADED, but this one didn’t leave me with the feeling of disappointment that I’d had after the first sequel. The battle for Zion revels in its excess yet stays grounded in a set of intertwining human stories that the script juggles neatly and keeps focused on real goals. Meanwhile Neo and Trinity journey into the beyond, witnessing truly extraordinary things, which counterpoints the action of the battle. It may not tie things up as neatly as we would like, but it leaves you knowing that you’ve seen a movie. And one directed by people with real vision and ability at that.

    Also Niobe taking off her sweater mid-pursuit the better to pilot the Hammer back to Zion is quite possibly the sexiest moment in all three movies. And that in a movie that has Monica Bellucci breathing heavily in a red latext dress! Your mileage may vary.

  10. So I feel a bit guilty commenting on Revolutions because truthfully, I have not sat through the entire movie since it was released in DVD as part of that extravagant box-set (and even then, my little brother bought that.) So I feel like I can make comments more about the big picture than get into specific plot points etc. And I’ve never bothered with any of the ancilliary animated stuff etc., if you can’t make your point across 7+ hours of movie, sorry I’m taping out.

    So areas where I really feel they misstep in this one include – way too much of the Mecca battle with the kid. That kid character is just terrible – a silly, Neo fanboy who is obviously a sort of surrogate audience stand in character. Taking time away from Neo/Trinity (the characters we have emotional investment in to focus on ‘mega’ action with people we are not invested in is a huge mistake. For example, does Cameron focus on the future wars in T1/T2, nope – he whittles everything away to a laser focus on Arnold/Sarah and John.

    Tonally and emotionally the climax of Revolutions is the final battle with Neo/Smith, if they had then transitioned to a final resolution involving the compromise/sacrifice Neo makes and dies, much better I felt.

    Another major misstep is damaging Neo’s eyes and covering them up. Yes this makes some sense within the internal logic of the story (losing a sense, gaining a power,) but man, taking away an actor’s eyes is a critical, critical mistake. So much of what an actor does is through the eyes, and actor’s, from a technical acting level hate loosing the eyes to the audience. And every director/cinematographer realizes they are playing with fire when they take it away. Francis Ford Coppola has talked about how they were very worried about shooting Brando so dark that they lost the eyes (in fact the studio was loosing its shit watching the dailies of it.) Now, in that case it worked. There’s a good video of Denis Villeneuve out about shooting the Paul/Gom Gabbar scene in Dune where he talks about basically realizing that he was lighting the scene very dark and you only see the veil the reverend mother wears, and her powerful eyes. It’s been mentioned how especially Weaving does some amazing modulation, tonal things with his voice in the films, but even then, they still have scenes where his eyes are visible (typically when Smith is mad or perplexed, so the Wachowskis are aware of this/use it.) I feel like it just falls apart at the end when Neo is mourning Trinity and we loose his eyes. And Reeves is definitely (for whatever reason) much more monotone in his voice through the entire film series. And Reeves uses his eyes so much in his performances. From an early role in River’s Edge, to even the scene under interrogation by the agents in The Matrix where they close his mouth, it’s the eyes that sell the character.

    I do feel like Revolutions is more consistent than Reloaded, but it lacks any real home run scenes – it’s uniformly weak, so I guess that’s faint praise. Again, I give credit to The Wachowskis for swinging for the fences, not trying to play it safe all the time, but the peril of climbing the highest mountain is the fact that the fall is a lot further. Sometimes the road less travelled ends in a cliff.

    But Revolutions seems too lack even any of the cool subtextual things that the first movie had – specifically something like how in the first movie the exploding walls, with all the plaster etc., showering and flying about during the gun battles, or in Reloaded the passing through doors stuff, was such a nice metaphor for the ‘exploding’ of reality that the characters and audience were experiencing.

    Ending the whole trilogy with a dialogue scene involving characters ancillary to the emotional through lines of the story can be seen as ballsy, but it’s still not a good idea. Admittedly this scene might have worked with Gloria Foster as the Oracle, but her replacement Mary Alice had none of the chutzpah of Foster, realizing that this was a tragic result of Foster’s death. But if the scene is not working, cut it or rework it so the point is made with characters more central to the story.

    The characters we really care about spend way too much time sitting in chairs or on flight decks piloting ships through the dark. It seems like Morpheus disappears from things, and I always hated how they had Jada Pinkett Smith, who is such a vibrant force of nature, and she really gets marginalized. For a series that started off so gleefully breaking rules and making the point that rule breakers, rebels and out side the box thinking is what we need, it becomes pretty goddamn conventionally in it’s thinking, we need councils and ‘captains’ and compromises need to be made? What, really? That sounds like a studio talking about how to make a movie, not a smart assed, punk who stays out late, jamming and raising some hell.

    The next thing your gonna tell me is Bezos, Musk and Zuck are gonna save the world, not blow it up.

    I was at this movie for the opening night show, and I’ll never forget the tone of the guys voice who hollered “What? What? That’s it?” at the end.

    I’ve been wondering what it would be like if somebody performed a Steven Soderbergh ‘cut’ on the trilogy and made a 4 hour version? That might be really interesting.

    However, the interesting discussion on here has convinced me to actually revisit the 3 movies now – I just hope for a chance to see Resurrections in theatres, with Omicron exploding again, my brief venturing out for films might be over again, and I’d actually hate to experience it only on a TV screen, because at least visually the trailers have been pretty compelling.

  11. I agreed with Fred’s initial assessment when i first saw it. (It didn’t help that I saw it immediately after I came out of Alien directors cut on the IMAX screen at the theater I was working at).

    Not enough Matrix stuff, lots of boring Zion stuff with characters I don’t care about (I’m glad Link’s wife and the kid are survivors, but I still didn’t care, etc).

    Any rewatch of this one usually slipped into sleep and never finishing it properly. (Except for the time on shrooms, and I’m not even sure that actually happened)

    As I’ve gotten older, and have re-boarded Wachowski Starship (I’m an unapologetic Cloud Atlas/Sens8 lover) I’ve come around to admire their ambitious ideas even if the execution isn’t entirely great. (Jupiter Ascending and Speed Racer come to mind).

    I greatly admire what they are doing and I cannot wait to see what Lana has in store for Resurrections. (I’ve avoided all promo materials).

    That being said, still havent managed to finish Revolutions yet. But mostly because i want to give it my attention and can’t at the moment.

    My friend had an internship with the sound team in the first Matrix in college. He came back that semester and told me he worked on this movie that I’m gonna flip for, and when opening day arrived I was at the mall getting my tire fixed and decided to take a chance and had my mind blown. It is an almost perfect movie, and never diminishes on rewatches.

    When I do return to Reloaded im always fascinated with the questions it asks and let down by the answers Revolutions does or does not provide. But I will say that it definitely goes to how Wachowskis arent giving you what you want, but what they want. And these days, I’m fine with that.

  12. I liked Reloaded a lot, so when this one came out, I found it disappointing mostly because it… feels like a sequel to a different movie, and it kind of retroactively makes Reloaded not work. It’s got loads of good moments, though, and I do love the resolution to the conflict.
    Paul Chadwick, a great comic book writer who was tapped to script that Online Matrix game mentioned above, said that Neo realized that the only way to defeat agent Smith is to let go, that agent Smith does not have any reason to exist if Neo dies. So he sacrifices himself. Not sure if that’s canon but that’s pretty cool, too.

  13. I am/was one of those sour people who were down on the sequels before they even came out. I thought at the time (and still do) that the ending to the first film was perfect and needed no elaboration. I remember liking the highway chase set piece in Reloaded, but not much else about either film. Just not my jam I guess.

    Strangely enough, just by the trailer, I have more interest in the upcoming film. I’m not sure I’ll end up liking it though as the Wachowski’s films since The Matrix haven’t really appealed to me (other than Cloud Atlas which surprised me on home video). Jupiter was big dumb fun but didn’t quite connect and Speed Racer was definitely not aimed at me.

  14. My impression was that Zion was a part of the Matrix and the entire sequence of events was a program the machines made to let people think they were rebelling when in fact they were still hooked up to the machine. I figured this was how Agent Smith could take over a ‘human’ body. Neo being the 1 to Agent Smiths 0. The equation is solved when they eradicate each other, the program reboots, and everything starts over.

    The new movie looks like just that. He makes a different decision and is on the blue-pill for awhile (represented by anti-depressants).

    As for the Wachowskis and sex & bondage, I’d like to hear your opinions on Sense 8. Pretty interesting stuff. Love the site been reading since the 00’s. Keep at it.

  15. I actually never got around to watching Revolutions until a few years ago. I was one of those cynics who hated Reloaded, citing the usual problems. And i figured, if I didn’t like Reloaded, Revolutions was going to suck as well. Maybe a second viewing will change my mind, but while Reloaded improved since the first viewing, Revolutions was a bit of a slog.

    I like all of the ambitious things it tried, like the somewhat dour ending and the stalemate between humans and the machines, but the action isn’t nearly as exciting as in the first film, and the world of Zion is kind of ugly. This wasn’t a problem in the previous films because we spent most of the time in The Matrix. But watching people discuss things while hanging out in their underground bunker just isn’t that exciting.

    I really hope that the Wachowskis keep on getting money for their projects because when they hit it big, their movies are beautiful and unique (The Matrix, Speed Racer, Cloud Atlas), but it would be foolish to claim that they haven’t had some big whiffs (Jupiter Ascending). I even gave their TV show, Sense 8, a try, but it didn’t work for me.

    I’m not sure when I’ll be able to get into a theater to see it, but I’m still excited for Resurrections. Everything I’ve heard so far suggests that Lana made something weird and unexpected, and I wouldn’t have it any other way.

  16. Glancing at the Wikipedia page for Revolutions, I noticed that they have the Wachowskis saying that sequelizing The Matrix is ‘a repelling idea’ and that in 2017, WB was working with Zak Penn to do their own reboot/sequel, right before Resurrections entered development with 1/2 Wachowskis onboard. Reading between the lines, I’m wondering how much the new movie is “we had a great idea for another Matrix” and how much it’s “they were going to make it either way, at least this way I get paid.”

  17. Nah, I believe Lana when she said she wasn’t interested, until some bad shit in her life made her come up with a story. (Also since a few critics already noted RESURRECTIONS’ humor, I doubt that it will be a dull meditation on grief.)

    In conclusion, while the first two MATRIX sequels are the Wachowskis’ weakest work, they earned all my trust.

  18. I always liked this way more than RELOADED. When I realized most people felt the opposite I knew I would never really be on the same page with pop culture on a lot of shit. It slowed down more and brought back the philosophical elements which RELOADED superficially glossed over while being padded with so much action it actually bored you. I legit liked the gut punches like the man who sees through everything being literally blinded and his soulmate just bluntly dispatched as if she was inconsequential.

    It felt like anything could happen and at least it wasn’t overtly predictable. Plus since the action is more spaced out it feels more weighted. Rebels vs. Vampires and Werewolves in a nightclub is still one of my favorite things in the trilogy despite no real monster effects in the thing. I’ve seen all the MATRIXes in the cinema on opening weekend. I’ll definitely make my first trip to the movies since GHOSTBUSTERS 3 next Sunday for RESURRECTIONS and I must say the one thing I’m most excited about is seeing how The Merovingian is brought into the story. Hands down the coolest thing to come from the sequels outside of ghost twins who should’ve had more to do.

  19. Merovingian has my favorite line in Resurrections.

  20. You know how a lot of action movies will have a big showstopping set-piece in the second act that everyone loves because it has scope and cool gimmicks and it’s shot in broad daylight so you can actually see it, and then the director gets big ideas about intimacy and atmosphere so the climax of the movie is some bullshit little confrontation shot at night in the rain that’s not half as exciting as the scene in the second act? This is a whole movie of that climax.

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