Following the events of The Matrix (1999), Neo and the rebel leaders estimate they have 72 hours until 250,000 probes discover Zion and destroy it and its inhabitants. Neo must decide how he can save Trinity from a dark fate in his dreams.
In order to foil a terrorist plot, an FBI agent undergoes a facial transplant surgery and assumes the identity and physical appearance of a terrorist, but the plan turns from bad to worse when the same terrorist impersonates the FBI agent.
Six months after the events depicted in The Matrix, Neo has proved to be a good omen for the free humans, as more and more humans are being freed from the matrix and brought to Zion, the one and only stronghold of the Resistance. Neo himself has discovered his superpowers including super speed, ability to see the codes of the things inside the matrix, and a certain degree of precognition. But a nasty piece of news hits the human resistance: 250,000 machine sentinels are digging to Zion and would reach them in 72 hours. As Zion prepares for the ultimate war, Neo, Morpheus and Trinity are advised by the Oracle to find the Keymaker who would help them reach the Source. Meanwhile Neo's recurrent dreams depicting Trinity's death have got him worried and as if it was not enough, Agent Smith has somehow escaped deletion, has become more powerful than before and has chosen Neo as his next target.Written by
The marble floors and columns, plus many other seemingly expensive textured surfaces were actually printed on "grand format" printers and with a scuff- and UV-resistant coating. A number of back-lit surfaces (such as the "amber" elements in the Merovengian's restaurant) were also printed, but on a translucent material. See more »
In the highway chase scene, when the agent leapfrogs onto the hood of a moving vehicle (which crushes into the ground in slow motion), you can see that the only light source is the sun, which is perpendicular to the highway (low and off to the right), and all objects in the scene are casting long shadows only to the left. The agent casts his long left shadow (which extends from the edge of the car's shadow as he lands on it), but also casts a second shadow just below and behind him directly on the car's hood. He is the only object in the scene that casts a downward shadow. See more »
There are no opening credits beyond the production logos and the title. See more »
The 16mm print of the film (sent to college campuses, etc.) features some scenes in letterboxed widescreen form and some scenes in Academy ratio (i.e. full-frame). In at least one scene, this format revealed more than the directors intended (see goofs). See more »
The creators of The Matrix Trilogy had repeatedly state that this was conceived as a "Trilogy" from the start. Although I haven't a reason to doubt that, the 2nd (and 3rd) Matrix fall in the tradition that many sequels of good movies suffer from.
Despite the fact that practically the same cast and crew who created the magnificent first part is here for the 2 & 3 (they shot it back-to-back) the movie quickly loses its spirit.
First mistake is the introduction of many many new secondary characters who might not necessarily needed. And these characters are trying really hard to pose as important without that being the case at all.
Second mistake is the forced philosophy that didn't actually had anything to add to that of the original. The attempt for a recreation of the perfectly scripted dialog between Neo and the Oracle in the original is a failed one. For some, including me, it even destroys the feeling of the original dialog by diminishing its great themes.
Third mistake the (experimental) visual effects this time look completely fake. There is a big fight, shot with something that is described as virtual cinematography, and it's more than obvious that...well..it needs lots of work to be believable.
In conclusion when you are trying for bigger and better there is no guaranty that you will succeed. A common thing in movie sequels. A curse, that struck the second (and the third) sequels of the Matrix.
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