The Matrix Revolutions  
(Matrix 3)

Metaphysical Overview
A life is never trivial, a thought is always worth examining and the environment in which that life exists, that thought occurs, is exactly perfect. In what dimension, alternate universe or plane that life occurs is irrelevant. Regardless if the experience is a physical, mental or entirely spiritual construct, it never begs the question of whether it is real. Reality is. That’s what makes it so delightfully easy to change with choices!

The Matrix Trilogy is by far and away one of the best metaphysical constructs ever offered by author or screenwriter—the special effects of the films cause an involvement with the concept superior to most fantasy experiences. The metaphor of awareness is not lost on anyone, even those who do not like the films will quip “I would have taken the blue pill—I definitely would choose The Matrix over the dingey, gray grime of the Rebel Underworld !” –or being out of The Matrix. Neo (Keanu Reeves), Trinity (Carrie-Anne Moss) and Morpheus (Laurence Fishburne) are an internationally recognized team utilizing effective metaphysical technique—which can still be considered interesting in today’s political climate. The trilogy ends with this film and many questions are answered, the world as the Rebels know it is saved and—many viewers noted with relief—without as much ‘kissy-face’ as in The Matrix Reloaded (Matrix 2.) Morovingian (evil) and The Oracle (good) do the battle royal and Neo makes painful and necessary choices. Mr. Smith (the computer geeks favorite metaphor for system viruses) gets very few lines, although he again makes observations about how insignificant, vile and filthy we human organisms truly are, as he walks the talk. Jada Pinkett Smith emerged as a strong, character actor, which was becoming apparent in The Matrix Reloaded. This is a Warner Brothers collaboration with Village Roadshow, NPV and Silver Pictures. Enjoy Revolutions on the big screen as the graphical arts interface is fairly incredible, even ten years after the Wachowski’s began this odyssey. And what of the Architect? You’ll see!  

The Cat In The Hat

Always crowd pleasers, Dr. Seuss books have given so much pleasure to so many. The Cat In The Hat is especially well-loved, causing a broad-based anticipation of this movie. Some may be disappointed if they are expecting a children’s movie. The scripting is all over the place, from comedy for all ages to truly adult content, and not just as an artifact of the precocious Seuss books. The blending of the special effects, animation and elaborate attention to detail gives the viewer a flawless version of the Seuss-described world of trees-just-so, cute little vehicles, flamboyant architectural details and whole streets which seem to have been lifted right off the pages of the book. The actors move about in this world seamlessly. Fans of Seuss may find the adaptation unappealing due to the adult innuendos Mike Meyers spews at every opportunity—jarring to one’s sensibilities and definitely un-catly. His Cat seems insincere as a consequence. Young Spencer Breslin, most notably in ‘The Kid’ is the rebellious brother, Conrad. The scene stealer for this film was Dakota Fanning, from ‘Uptown Girls’ and ‘I Am Sam’ fame, the socially inept, controlling younger sister. Alec Baldwin’s character was an unnecessary contrivance, as it is entirely possible to create a ‘hip’ movie for kids which doesn’t need the ‘stupid adult wholly over-matched by the brilliant children theme.’ They would have been as well off to simply portray Seuss’ fantasies intact and as skillfully as is now available from Hollywood graphical artists. Universal Films distributed this Dreamworks, Alphaville, Imagine collaboration.

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