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The Wachowskis Movies, Ranked From Worst to Best

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The Wachowskis Movies, Ranked From Worst to Best

When looking back on the filmography of the Wachowski sisters, it is incredible to see just how varied and polarizing much of their work has been. Be it with the revolutionary world they created in The Matrix that took audiences by storm or how they wove a vast epic in Cloud Atlas, their approach to filmmaking is without comparison.

As we now have been lucky enough to see Lana Wachowski’s joyous meta masterpiece that is The Matrix Resurrections, which is absolutely worth checking out, let’s look back on all the films the siblings made up until now. These are all the films the duo has made, ranked.

RELATED: ‘The Matrix’ Movies, Ranked From No to “Whoa”

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7. Jupiter Ascending

Oh, Jupiter Ascending, what a glorious mess you are. This science-fiction adventure film is not without its positives, it even is a film that is hard to really despise, though it still is the least successful vision from the directors.

The worlds and visuals are a plus, though the story here is regrettably clumsy as it follows the titular Jupiter (Mila Kunis), thrust into a world beyond the stars when she meets Caine (Channing Tatum) who informs her that she is destined for greatness. She will have to face down Balem Abrasax, played by Eddie Redmayne (who gives a certainly unique performance).

While there are some defenders of the film, it is still hard to overlook much of the narrative and pacing problems. The film was a low point in the directors’ career that regrettably was enough for many to dismiss their work overall despite many other worthwhile films.

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6. Bound

The feature directorial debut that started it all, Bound is a wonderous subversion of genre that is as exhilarating as it is deeply compelling. It centers on Violet (Jennifer Tilly) who begins to form a relationship with Corky (Gina Gershon). This relationship is also an affair as Violet is the girlfriend of the gangster Caesar (Joe Pantoliano).

What follows is a masterful character study wrapped up in a romantic thriller as the lovers plan to escape the violent influence of Caesar and make off with two million dollars in cash. It is high stakes with outstanding performances all around as you feel every emotional moment utterly and completely. The film is a classic example of necessity being the mother of invention as the Wachowskis make use of a scant set and low budget to create something really special. It showed they were deserving of more and marked them as fresh new voices.


5. The Matrix Revolutions

The imperfect finale to the trilogy of films, The Matrix Revolutions is still a dynamic vision that saw the Wachowskis wrangling all the narrative threads they had established over the prior two entries. It carried on with the prophecy and the looming conflict with the machines, proving to be a giant spectacle that still was carried by strong characters.

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It sees Neo (Keanu Reeves) and Trinity (Carrie-Anne Moss) going on a separate mission to Machine City while the last human city of Zion tries to defend itself from an impending attack by the Sentinels. The character development is the most shallow in comparison to the others though it is not entirely without substance.

The heartfelt romantic core between Neo and Trinity is the best part, ensuring the film still has a hold on you. This only deepens when you see how it carries into The Matrix Resurrections and the foundation laid in this film deserves a lot of credit for setting that up.


4. The Matrix Reloaded

The second entry in the series, The Matrix Reloaded had the tough task of carrying on after the first film left audiences’ jaws on the floor. While it was not able to match that same energy, it still is a solid sequel that began to push the story into some interesting new directions. It may have left some viewers feeling a bit lost, but the willingness to get into some more heady ideas was a daring one worth admiring.

The film boasts the best action sequence of the franchise that saw the filmmakers literally construct a highway to allow for an extended chase sequence that still remains outstanding. Some other action sequences are less impressive, though the directors still pushed themselves in the scenes when they needed to.

The film still gets a lot of surprising hate for not living up to the original though it still holds up and is worth praising for all it did right. It is hard to follow up from a beloved and revolutionary film that shook up what was possible in cinema, though The Matrix Reloaded more than earns its spot on this ranking for carving out its own path.

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3. Speed Racer

A film that was woefully misunderstood and critically undervalued when it was first released, Speed Racer is a remarkable adaptation that came out long before anyone was prepared for it. It is a film that created its own cinematic grammar and pushed the envelope on what was possible for live-action adaptations.

Told with intoxicating and vibrant colors, it follows the story of young Speed (Emile Hirsch) who is an incredibly talented driver in a futuristic world where he must face down corruption in order to protect the sport he loves and his family. Often cheesy and the most family-oriented film in the Wachowskis’ filmography, it still is an ambitious work that deserves a reevaluation in the public consciousness that prematurely dismissed it.

The finale alone remains one of the most simultaneously high octane and graceful scenes ever put to screen. As Speed’s vehicle leaps through the air, attacking the track while the film intercuts everything that has brought him to this moment, it takes the breath away as only cinema as bold as this could.


2. Cloud Atlas

An adaptation of the novel of the same name by David Mitchell, Cloud Atlas is another work from the directors that deserved more attention than it got. Spanning hundreds of years and vastly different worlds, the timeline of the film stays true to the novel while still bringing it to life as only they could. The result is a truly stunning piece of art that will stick in the heart and soul even years after you see it.

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With actors playing multiple roles, there are some aspects that don’t quite work, like the misguided attempt to alter actors’ appearances to a breaking point that doesn’t quite sit right. However, the center of the story remains profound and beautiful in seeing the echoes of life reverberating through time. It is a deeply funny film at key moments as well, creating a mixture of melancholy and joy all in one. The loss and love that the story grapples with is handled with a delicate touch that still becomes completely arresting in the final act. It is a vast story that shouldn’t work as a film, yet it absolutely does unlike any other adaptation has before it.


1. The Matrix

There still could only be one film that takes the top spot on this ranking and it was always going to be The Matrix. It is a film that still remains as refreshing and audacious as when it first came out. From the manner in which it questioned our reality to the bonkers action sequences, there is nothing that had been like it when it came out and nothing ever quite like it since.

It sees where it all began with Reeves’ Neo being first chased down by Agent Smith, played by a menacing and marvelous Hugo Weaving, and having to awaken from the fantasy he had been living in for all these years. It is a film that just exudes creativity in every single frame, challenging all the rules that had been laid out for it.

Hopefully, the Wachowskis will continue to get opportunities to someday surpass the work that first gained them acclaim. However, it would have to be perfect, as this film is a nearly flawless piece of art. Even as many films have tried to imitate its style and vision, there will be never be anything like the singular experience that was The Matrix.

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Review: SAMARITAN, A Sly Stallone Superhero Stumble

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Review: SAMARITAN, A Sly Stallone Superhero Stumble

Hitting the three-quarter-century mark usually means a retirement home, a nursing facility, or if you’re lucky to be blessed with relatively good health and savings to match, living in a gated community in Arizona or Florida.

For Sylvester Stallone, however, it means something else entirely: starring in the first superhero-centered film of his decades-long career in the much-delayed Samaritan. Unfortunately for Stallone and the audience on the other side of the screen, the derivative, turgid, forgettable results won’t get mentioned in a career retrospective, let alone among the ever-expanding list of must-see entries in a genre already well past its peak.

For Stallone, however, it’s better late than never when it involves the superhero genre. Maybe in getting a taste of the MCU (Marvel Cinematic Universe) with his walk-on role in the Guardians of the Galaxy sequel several years ago, Stallone thought anything Marvel can do, I can do even better (or just as good in the nebulous definition of the word).

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The property Stallone and his team found for him, Samaritan, a little-known graphic novel released by a small, almost negligible, publisher, certainly takes advantage of Stallone’s brute-force physicality and his often underrated talent for near-monosyllabic brooding (e.g., the Rambo series), but too often gives him to little do or say as the lone super-powered survivor, the so-called “Samaritan” of the title, of a lifelong rivalry with his brother, “Nemesis.” Two brothers entered a fire-ravaged building and while both were presumed dead, one brother did survive (Stallone’s Joe Smith, a garbageman by day, an appliance repairman by night).

In the Granite City of screenwriter Bragi F. Schut (Escape Room, Season of the Witch), the United States, and presumably the rest of the world, teeters on economic and political collapse, with a recession spiraling into a depression, steady gigs difficult, if not impossible, to obtain, and the city’s neighborhoods rocked by crime and violence. No one’s safe, not even 13-year-old Sam (Javon Walker), Joe’s neighbor.

When he’s not dodging bullies connected to a gang, he’s falling under the undue influence of Cyrus (Pilou Asbæk), a low-rent gang leader with an outsized ego and the conviction that he and only he can take on Nemesis’s mantle and along with that mantle, a hammer “forged in hate,” to orchestrate a Bane-like plan to plunge the city into chaos and become a wealthy power-broker in the process.

Schut’s woefully underwritten script takes a clumsy, haphazard approach to world-building, relying on a two-minute animated sequence to open Samaritan while a naive, worshipful Sam narrates Samaritan and Nemesis’s supposedly tragic, Cain and Abel-inspired backstory. Schut and director Julius Avery (Overlord) clumsily attempt to contrast Sam’s childish belief in messiah-like, superheroic saviors stepping in to save humanity from itself and its own worst excesses, but following that path leads to authoritarianism and fascism (ideas better, more thoroughly explored in Watchmen and The Boys).

While Sam continues to think otherwise, Stallone’s superhero, 25 years past his last, fatal encounter with his presumably deceased brother, obviously believes superheroes are the problem and not the solution (a somewhat reasonable position), but as Samaritan tracks Joe and Sam’s friendship, Sam giving Joe the son he never had, Joe giving Sam the father he lost to street violence well before the film’s opening scene, it gets closer and closer to embracing, if not outright endorsing Sam’s power fantasies, right through a literally and figuratively explosive ending. Might, as always, wins regardless of how righteous or justified the underlying action.

It’s what superhero audiences want, apparently, and what Samaritan uncritically delivers via a woefully under-rendered finale involving not just unconvincing CGI fire effects, but a videogame cut-scene quality Stallone in a late-film flashback sequence that’s meant to be subversively revelatory, but will instead lead to unintentional laughter for anyone who’s managed to sit the entirety of Samaritan’s one-hour and 40-minute running time.

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Samaritan is now streaming worldwide on Prime Video.

Samaritan

Cast
  • Sylvester Stallone
  • Javon ‘Wanna’ Walton
  • Pilou Asbæk

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Matt Shakman Is In Talks To Direct ‘Fantastic Four’

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According to a new report, Wandavision’s Matt Shakman is in talks to direct the upcoming MCU project, Fantastic Four. Marvel Studios has been very hush-hush regarding Fantastic Four to the point where no official announcements have been made other than the film’s release date. No casting news or literally anything other than rumors has been released regarding the project. We know that Fantastic Four is slated for release on November 8th, 2024, and will be a part of Marvel’s Phase 6. There are also rumors that the cast of the new Fantastic Four will be announced at the D23 Expo on September 9th.

Fantastic Four is still over two years from release, and we assume we will hear more news about the project in the coming months. However, the idea of the Fantastic Four has already been introduced into the MCU. John Krasinski played Reed Richards aka Mr. Fantastic in Doctor Strange in the Multiverse of Madness. The cameo was a huge deal for fans who have been waiting a long time for the Fantastic Four to enter the MCU. When Disney acquired Twenty Century Fox in 2019 we assumed that the Fox Marvel characters would eventually make their way into the MCU. It’s been 3 years and we already have had an X-Men and Fantastic Four cameo – even if they were from another universe.

Deadline is reporting that Wandavision’s Matt Shakman is in talks to direct Fantastic Four. Shakman served as the director for Wandavision and has had an extensive career. He directed two episodes of Game of Thrones and an episode of The Boys, and he had a long stint on It’s Always Sunny in Philadelphia. There is nothing official yet, but Deadline’s sources say that Shakman is currently in talks for the job and things are headed in the right direction.

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To be honest, I was a bit more excited when Jon Watts was set to direct. I’m sure Shakman is a good director, but Watts proved he could handle a tentpole superhero film with Spider-Man: Homecoming. Wandavision was good, but Watts’ style would have been perfect for Fantastic Four. The film is probably one of the most anticipated films in Marvel’s upcoming slate films and they need to find the best person they can to direct. Is that Matt Shakman? It could be, but whoever takes the job must realize that Marvel has a lot riding on this movie. The other Fantastic Four films were awful and fans deserve better. Hopefully, Marvel knocks it out of the park as they usually do. You can see for yourself when Fantastic Four hits theaters on November 8th, 2024.

Film Synopsis: One of Marvel’s most iconic families makes it to the big screen: the Fantastic Four.

Source: Deadline

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Dan Aykroyd, Chevy Chase Star in ‘Zombie Town’ Mystery Teen Romancer (Exclusive)

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Dan Aykroyd and Chevy Chase have entered Zombie Town, a mystery teen romancer based on author R.L. Stine’s book of the same name.

The indie, now shooting in Ontario, also stars Henry Czerny and co-teen leads Marlon Kazadi and Madi Monroe. The ensemble cast includes Scott Thompson and Bruce McCulloch of the Canadian comedy show Kids in the Hall.

Canadian animator Peter Lepeniotis will direct Zombie Town. Stine’s kid’s book sees a quiet town upended when 12-year-old Mike and his friend, Karen, see a horror movie called Zombie Town and unexpectedly see the title characters leap off the screen and chase them through the theater.

Zombie Town will premiere in U.S. theaters before streaming on Hulu and then ABC Australia in 2023.

“We are delighted to bring the pages of R.L. Stine’s Zombie Town to the screen and equally thrilled to be working with such an exceptional cast and crew on this production. A three-time Nickelodeon Kids Choice Award winner with book sales of over $500 million, R.L. Stine has a phenomenal track record of crafting stories that engage and entertain audiences,” John Gillespie, Trimuse Entertainment founder and executive producer, said in a statement.

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Executive producers are Trimuse Entertainment, Toonz Media Group, Lookout Entertainment, Viva Pictures and Sons of Anarchy actor Kim Coates.  

Paco Alvarez and Mark Holdom of Trimuse negotiated the deal to acquire the rights to Stine’s Zombie Town book.

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